Live In Las Vegas
Recorded at the Venus Lounge in the Venetian Casino December 11-15, 2002. This is no frills, y’all … no jewel case, no liner notes, just some kick-ass sangin’ and twangin’ from the fellas.
Kissing Abilene Goodbye
Tall Walkin’ Texas Trash
One Year, Three Months, A Week To The Day
Jesus Pick Me Up
Dope Smoking Song
This product is downloadable
Live In Las Vegas
Recorded at the Venus Lounge in the Venetian Casino December, 2002.
This is no frills, y’all … no jewel case, no liner notes, just some kick-ass sangin’ and twangin’ from the fellas.
Of all the bands under the umbrella of the alt.Texas genre, Jesse Dayton seems like the perfect Texas band for Las Vegas, the perfect combination of musicianship and, just as importantly, showmanship. Dayton and his band are not only some of the best pickers on the scene, they’ve got the flash and eye-grabbing showmanship to go with it.
It doesn’t hurt that Dayton bears a striking resemblance to the former King if you don’t look too closely. Vegas loves the King and Vegas loves a show. It doesn’t take too much imagination or shrewd observation to see that Dayton has cultivated some of the crucial Presley performing traits — not the glitzy, absurdly costumed schtick of the Vegas Presley that spawned an industry of cheesy imitators but the stripped down, hubba-hubba rockabilly electricity that propelled that Tupelo, Mississippi boy to mega-stardom in the ’50s.
Recorded during a weeklong engagement at the Venetian Room on the Vegas Strip, the seven song EP Live In Las Vegas documents one of the blazingest, hell-for-leather, show-blow-get-the-dough musical outfits Texas has unleashed on an unsuspecting world in ages. What is truly impressive is that this is a sound board recording completely devoid of production tweaks and mastering wizardry. It’s as raw as a cut from a straight razor. While the drums come across a bit tinny in the mix, the overall effect is a dagger through the honky tonk heart of the impression that alt.Texas bands are loose and undisciplined and musically limited. These tracks catch a moment of such musical precision that, if the crowd screams were filtered out and the mix was retouched, they could be mistaken for carefully sculpted studio takes.
Source – Review by William Michael Smith for Rockzillaworld
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