Mommie Dearest
Boulder Weekly, 5/20/99
Despite the fact that all the ingredients
are in place, the recipe for success for Carolyn's Mother just won't cook
hot enough for the band's liking
The band has sold out every single Herman's Hideaway show it has played, is
about to release its third full-length CD, titled Joy, and is on the
rotation at many radio stations in the Midwest.
Still, members contend, hometown media seem determined not to give the band
their due, which players agree they've earned.
"Honestly," confides bassist Colin Burke, "We don't have much
respect for local media. It seems like we feel more 'local' in other cities,
where the media gets behind their local music." He cited coverage by
Westword, and Backbeat editor Michael Roberts as examples.
"(Roberts) doesn't really like our music, which is fine, I mean, that's
certainly his opinion and he's welcome to it. But, getting coverage from him
is really hard.
"Take (Boulder-based band) On 2nd Thought. He hasn't had one nice thing
to say about these guys, and they've got a great crowd and have built up quite
a following. No matter how big we make it elsewhere, there will always be
this core who won't appreciate what we're doing."
Roberts disagrees. "I find that idea absurd on its face," Roberts
says. "In 1996, we did an incredibly positive profile on Carolyn's Mother,
and since then we've mentioned them 29 times. They haven't been ignored in
any way, shape or form. In fact, Westword is the only Dnver paper who,
as a matter of course, prints a minimum of one local music story every week.
I don't know of any other publication that does that. Also, I review every
single local recording I get."
Roberts says this kind of heat from local bands is fairly common because other
media outlets look the other way where local music is concerned.
"Bands all want us to cover everything in a positive light, regardless,"
Roberts says. "I think that's a disservice to our readers. Local music
shouldn't be graded on a curve."
If it's a curve they're being graded on, Omaha radio's scale is a u-turn.
According to Burke, the band's tunes held first, second, fourth and sixth
places on a local radio station's web-based playlist there.
"We're huge everywhere but here. It's like we're Denver's best kept secret,"
he concludes.
So, is it media's job to expose that secret?
"It's not the job of any journalist to promote anything," says Michael
Mehle, popular music reporter for the Denver Rocky Mountain News. "It's
our job to report."
Mehle contends that there is a balancing act that has to be maintained between
what readers really want to read about and what there is to cover.
"It's a chicken or egg kind of question," he says. "Is it the
papers' job to support music before patrons do? Or is it the other way around?"
However, he says he understands the frustration bands like Carolyn's Mother
share. "Everyone wishes there was more room, time and resources to get
to more of those stories."
Part of the reason local music suffers a lack of coverage is due to the lackluster
nature of the scene, Mehle says.
"It's frustrating as a writer to see so many good bands just disappear.
Bands that have the goods, have all the right stuff, and then they just implode."
Which hopefully isn't the case with Carolyn's Mother.
"We've gone through kind of this Spinal Tap-esque thing with drummers,"
Burke says, "but the rest of us have been together for years. And the
drummer we've got now, we're real happy with."
The new CD is the result of a "maturation process," as Burke sees
it. "The goal on our first CD was putting out power-paced 3-minute pop
tunes," he says, "where the formula was the same--verse, chorus,
bridge, verse, chorus, out. The goal here was finding different ways to write
a song."
Which is an effort the group pulled off. While the edge and catchiness of
previous releases still remain a focal point of the group's sound, the shape
of the tunes has changed. Hopefully, the change in sound will help open up
more avenues for the group.
"We've had a hard time breaking into the Boulder scene," Burke says.
"Maybe it's just the style of music that seems more popular up there,
but our reception isn't as great as it could be. Now, with the new album,
we'll have to revisit playing up there."
-Dave Flomberg
Carolyn's Mother Has Denver Jumping
Just try not to break anything, okay?
INsite, October 1998
"We keep waiting for the day the entire
dance floor caves in from all the jumping," laughs Drew. The others seated
around the circular table smile in agreement.
"Our fans really get into the show. They put out an incredible amount of
energy. You really have to see the show tonight to get a better idea. The crowd
tends to be a little crazy," adds Colin.
"Sometimes you can feel the audience bouncing from on stage. It's almost
scary," says Rhett.
The four members of Carolyn's Mother sip on their beers and gin and tonics as
cigarette smoke dims the already dark corner of Herman's Hideaway. This late
Saturday afternoon has found them with a hectic schedule divided between a wedding
appearance, sound check, press interviews and the late-night show. I caught
some traffic on the way to Herman's and ended up at the interview late. Having
never met the band, I give them respect for waiting for me.
Since I'd never seen the band play, I can offer no comment on their fans enthusiasm.
I silently agree with Colin, and decide it best to let their performance, several
hours later, speak for itself.
And speak it does, through Rhett. Between the second and third songs in their
set, Rhett happily looks across the packed venue, maniacally smiles and says
"This is a good jumping song." Immediately the instruments charge
into action, and the crowd, already on its feet, feel the band's enthusiasm
broadcast through their bodies. Several hundred heads rise and fall in time
with the beat, as the audience gets hopping. Drew's earlier comment about their
concern for the dance floor proves to be no joke. I tenaciously hold onto the
bar countertop as the wood floor rhythmically undulates beneath me. My friend
looks at me with fear in her eyes, and I calmly reassure her that the room underneath
the dance floor is covered corner to corner with a giant safety net; in the
unlikely event the entire floor gives way.
Herman's Hideaway, located on South Broadway, in Denver, is packed this evening.
600 or so people excitedly inhabit the room as one of this city's more popular
local bands takes the stage. The opening band, Love.45, did a good job of warming
up the crowd, and when Carolyn's Mother begins playing, the audience's inebriated
attention immediately focuses on the four men on stage.
And focused it stays. The band has been together five years, toured extensively,
produced an EP, two LP's, and has a new album looming on the horizon--they know
how to please their eager fans. Drew Hodgson, on lead guitar, Rhett Lee, lead
singer and occasional rhythm guitarist, Colin Burke, on bass, started out together
in a band named The Floor before losing a keyboard player and renaming themselves
Carolyn's Mother. After going through a Spinal Tap-esque succession of drummers,
they seem to finally be happy with the addition of the very revered John Rector,
on drums.
Despite being largely ignored in the press, repeatedly snubbed in the "Best
of Denver" awards, and lacking any support from local radio, Carolyn's
Mother flourishes because of its loyal following. Realizing the importance of
their fans, the band members mingle with the crowd before and after the show.
In the past three years playing Herman's Hideaway, they have, to their credit,
sold out every show but two. The band makes active use of its mailing list,
relying on the postal service to keep it in communication with loyalists. This
loyalty is illustrated throughout the show, as kindly fans keep a continuous
flow of Jaegermeister shots and Rolling Rock beer pointed directly at the stage.
From 1993, when their self-produced EP, Dream Of What You Fear came out,
through their 1995 album Fridays And Other Small Tragedies and the most
recent CD-ROM enhanced album, Dirty Pieces of Silver, they have created
tight pop songs, all released on their own label, ARC Weld Records. Citing Brit-rock
bands such as Blur, the Verve, and Oasis as major influences, their sound is
something like a three-minute British pop-rock song driven in an American-made
diesel. Possessing more of a hard rock edge than their overseas peers, their
sound is often reminiscent of early U2. To underscore this observation, they
broke into a solid cover of U2's "I Will Follow," during the second
set.
Tonight is Rhett's first night taking on the chore of singing and playing rhythm
guitar. Rhett, as with any good lead singer, has an overactive adrenal gland,
and pours himself into the singing. Showing boundless energy, he frenetically
moves, letting the music take him where it pleases; usually into the audience
with his cordless mike or climbing on the speaker stacks. The second song of
the first set is a new one, entitled "Sleeping With the Enemy," which
I heard during sound check. Rhett makes great use of his vocal rangeand the
mid-temposong is an instant crowd-pleaser. It has all the makings of a radio
hit, and I wouldn't be surprised to hear it on air in a few months.
It's obvious Rhett isn't settled into his dual role yet, as he sings many songs
sans guitar. Hailing originally from Manchester, England, Drew, on lead guitar,
lays out the main guitar rhythms and fills the middle with very proficient jams.
Having about 15 years of playing experience behind him, he tears effortlessly
into fast songs like "Hit Me x 3" and a cover of "Sit Down,"
by James. Usually providing the only guitar on songs, he lends a good mix of
rhythm and leads to the band's sets.
Colin, who hails from Canada, is the other non-Denver native in the group. Breaking
in a new bass guitar this evening, he plays fluid bass lines that mesh well
with Drew's playing. Proving Rhett isn't the only energetic member of the band,
sweat drips off his head as he hammers notes in progressive rhythm. he sings
back-up lyrics often and his enjoyment in playing is clearly evident in his
perma-grin.
John is the newcomer to the group, having joined Carolyn's Mother only three
months ago. This lack of experience never shows through his thunderous drumming
and flawless tempo. No band would mind having a drummer like John come on board.
His twenty-some years of playing is obvious as he seamlessly blends in with
the others. Tonight is his first time playing Herman's Hideaway with this band,
and he gives a performance that satisfies even the most ardent fans.
The band ends the show with an encore of "Sleeping With the Enemy,"
and the crowd leaves satiated, en masse. On the way out, fans congregate around
the band members, thanking them for the music and praising the performance of
this solid, pop-rock band. The four musicians spend a good deal of time conversing
with their following and seem to be pleased with their own performance as well.
Along with playing the Hideaway, Carolyn's Mother plays such venues as the LoDo
Music Hall, the Bluebird Theater and the Ogden. Not binding themselves strictly
to the Denver scene, they will be playing Salt Lake City the weekend of October
16th and Omaha and Lincoln the following weekend. With several years of touring
behind them, they've managed to build strond fan bases in cities from Phoenix
to Kansas City. The band is warmly received on the road, and enjoy playing to
the different crowds allowed by touring.
-Jim Merrion
Carolyn's Mother
A band of all-natural buzzes
Fort Collins Coloradoan, 1/30/98
For Rhett Lee, vocalist of the Denver-based
alternative pop-rock band Carolyn's Mother, a venue is not just a place to perform,
it's also a jungle gym.
Lee, known for swinging from rafters, parading up and down bars and serenading
audience members, will turn Bar Bazaar into his own personal playground Saturday
as Carolyn's Mother plays the final show of its Midwest tour.
"Rhett is one of those people that has a knack for taking the audience
and putting them in the palm of his hand," said drummer Jeff Gust. "Instead
of playing down to the audience, he will play the show with them."
Lee's captivating stage performance and determination to involve the entire
audience in the show are not the only reasons people should come out to see
Carolyn's Mother, Gust said.
"It's something different and it's very danceabl," he said. "There's
looniness and craziness, but hence, it's all regimented and without the use
of drugs."
In almost every aspect of the band--from Lee's stage antics to the band's high-powered,
narcotic-free performances--something distinct from the average, alternative
rock band is present. Take, for example, how the quartet of Gust, Lee, guitarist
Drew Hodgson and bassist Colin Burke came to choose the name Carolyn's Mother
when they formed in 1994.
As the band was trying to think of a clever name to call itself on a lzy afternoon
in Phoenix, a TV tabloid interview with an emotional woman referred to only
as "Carolyn's Mother" (daughter Carolyn was washed away during the
1994 Midwest floods) caught their attention. Jokingly, Lee suggested they name
the band Carolyn's Mother and the name stuck.
While the band's name may have started out as a joke, almost four years later,
Carolyn's Mother has proved it's nothing to joke about.
With a sound that's a cross between old U2 and Live, Carolyn's Mother recently
released its second CD, "Thirty Pieces of Silver." The band has also
gained a strong following of fans in Denver and Midwest college towns and has
opened for such big name acts as Jewel, Widespread Panic, Hootie and the Blowfish
and Ani Difranco.
Jay Mogil, who books bands for Bar Bazaar, said the alternative sound of Carolyn's
Mother is just the type of music Bar bazaar will begin to feature on a regular
basis. He said Bar Bazaar will shed its image as a blues and classic rock venue
in an attempt to attract a younger audience,
Although Gust said the band's music could be descirbed as easily digestible
and built for the radio, Carolyn's Mother does not want to be mistaken for an
alternative pop-rock band whose only real talent lies in producing catchy songs.
Many of the alternative pop-rock bands with hit songs are a disappointment when
it comes to performing live, Gust said. Gust said Carolyn's Mother attempts
to defy this norm.
"When you come to see us live, the album is just as good, but the live
show is that much better," Gust said.
He said one of the main reasons the band performs so well is because of the
high level of energy exerted not only by lee, but by all of the band members.
Because the members of the band are drug-free, Gust said, he is often puzzled
as to how he and the others can be so energetic on stage.
"I have no idea where the energy comes from," Gust said. "I guess
it's the pure adrenaline of being up on stage and making people happy.
"I guess that is a drug in itself."
Because Interstate 80 was the only permanent residence the band had last year,
Gust said the continual touring brought occasional energetic lows for all members
of the band.
While the road may take a toll on the members of Carolyn's Mother, the members
have no plans to slow down as they pursue their dream, which is not to become
reich and famous (although Gust admitted there would be no complaints if this
were to happen), but to become self-sufficient in a world where the clock does
not run from 9-to-5 and wearing a suit has become a thing of the past.
"We all feel the same way -- that this is really rewarding and enjoyable,"
Gust said. "If we actually make some money at this, then look out."
-Alyssa Casella
Honor Thy Mother Fortunately I found Carolyn's Mother, a high-powered four-piece rock band, playing at People's
in Ames, Iowa last June.
To help the band venture its way back to Denver I bought this CD during the band's break.
For a group on a small label, they flat-out rock.
My favorite songs are "Wayside," "Bleed," "Wonder," "Blame" and "Little Things."
This band hasn't toured the Northwest yet but I can't wait to see them again.
Fridays and Other Small Tragedies (ARC Weld)
The Olympian (Seattle, WA), 9/23/96
A good band is hard to find when you're out-of-town.
-Sean Lamphere
New
Name Key to Success for Carolyn's Mother Out promoting their second CD release, the full-length "Fridays and Other Tragedies," bassist
Colin T. Burke, guitarist Drew Hodgson and vocalist Rhett Lee sat down to discuss their past as local
act the Floor and their present as Carolyn's Mother.
"That was basically the key to success for Carolyn's Mother, we had to break up and then join
back together with the same members," said Burke.
"It worked great!" added Lee
Judging by their steady rise in the local music scene and the quality of their latest recording,
it would seem that Carolyn's has its finger on something. And as far as the guys in the band are
concerned, it's a pretty simple thing at that.
"I think we've all grown up a lot since then. We were pretty much kids when we wrote the songs from
the first EP," explained Hodgson. "This time we've experimented more with what we did. The first CD
was so basic, we had one guitar, and one bass line and one vocal line, one dub line - simple, just
stripped down songs. This time we've taken more time over it and just developed the songs more."
"We also had more money to spend," offered Lee.
They've been compared with bands such as Big Head Todd, Toad the Wet Sprocket and the Gin Blossoms.
The act also totes a heavy influence of bands from Brit Hodgson's home town of Manchester, including
James and the Smiths.
"I got three words for it," said Burke as his band mates chuckled. "I'd say 'alternative pop rock.'"
"Modern rock," said Lee.
Combining Hodgson's ringing guitar washes with Burke's flowing bass and drummer Bill Thomason's
tight riffing, the group plays a refreshing combination of those elements while adding something
special.
Although Carolyn's Mother is no one-man band, a noticeable chunk of the act's charm pours
straight from Lee's ample vocal chords. Running somewhere between the accomplished pipings of a
middle of the road pop singer and the un-trained bellows of a hard rock wailer, the real power
of a talented vocalist comes through. And if you ask his bandmates, that's not all the cheerful
Lee brings to the group.
"Come and watch Rhett," Hodgson said, listing the act's live merits. "Seriously, come watch
Rhett sing. His stage presence...there's nobody else that has the same stage presence he has in
this town. Nobody."
Not ready to let it stand at that, Lee chimed in with another good reason people love Carolyn's
Mother.
"It's easy to dance to," Lee grinned.
Denver Post, 9/15/95
For most bands, breaking up is the end of a dream. For others, it's just the beginning.
-David Thomas
Carolyn's
Mother Can Create Havoc Yet somehow, when bands nowadays have a direct correlation between their controversy
and their success, the members of Carolyn's Mother have gained quite a following.
Well, they do create quite a havoc when they're onstage. Vocalist Rhett Lee has been known to
run around the stage, around the venue, over tables, and he usually gets the entire crowd
dancing along to the show, said guitarist Drew Hodgson.
He also is known to serenade individual audience members...
Coming from Colorado, however, Carolyn's Mother was the unique band in a region filled
with funk and hippie bands, Hodgson said. He, Lee, bassist Colin T. Burke and drummer Jeff Gust
met at the Colorado School of Art, and in a past life - 1994 - the band called themselves The Floor.
"At that (college) age, we drank a log," Hodgson said. "We always spent life on the floor."
The Floor, which also had a fifth member, existed only for a short time, however, and broke up
for about a year before the same remaining members formed Carolyn's Mother.
"It felt like we were playing the sme thing," Hodgson said, "but somehow we sounded much better."
As for the new name, the band was listening to music and watching one of those tabloid TV shows.
A woman was tearfully recounting some dramatic story when the caption simply read "Carolyn's Mother."
That's all it took.
The band currently is touring in support of its second CD, "Thirty Pieces of Silver." Because
of its energetic live shows, people were disappointed in their first effort, "Fridays and other
Small Tragedies," Hodgson said, because the band took three months to record and produce it,
eliminating that instantaneous energy.
So for "Silver," they spent three days recording, and the response to the CD
was much better, Hodgson said.
When They're Onstage
The Iowa City Press-Citizen
They've been compared to mostly mainstreamed bands like U2, the Cure and the Gin Blossoms, playing
"radio-friendly" songs and making little noise outside of their music.
-David Lee
Entertainment Scene
The Rocky Mountain News
Carolyn's Mother doted on the crowd at
Herman's on December 8. This is one of the area's most popular bands and the
venue was packed in anticipation. They sound a touch like Modern English, a
bit like U2 and a tad like The Cure. Lead vocalist Rhett Lee rules the stage
with huge presence. Colin Burke provides a steady groove on his low slung bass
while Drew Hodgson jangles out rhythm guitar and Bill Thomason keeps people
dancing with his drums. Good songwriting and Rhett Lee's high energy performance
carry Carolyn's Mother. No flashy solos, just good encembles from four dudes
who are focused in on their style of music.
-Caruso