Hello Reader,
Welcome back. How’s your day going?
Buckle up, this delve is a longer but worthwhile ride.
Today we’re going to delve into Alejandro Escovedo. A talented guitarist, singer, and accomplished songwriter born and raised in Texas and then spent his later formative years in California. Alejandro’s parents raised a large family whose patriarch played in Mariachi and swing bands both in his native Mexico and in his new home, the U.S. Unsurprisingly, Alejandro’s siblings are proficient professional musicians. His older brothers Joseph aka “Coke” (Escovedo Brothers Latin Jazz Sextet, Azteca, and Santana), Peter Jr known as “Pete” (Escovedo Brothers Latin Jazz Sextet, Azteca, and Santana), Phil (Escovedo Brothers Latin Jazz Sextet), and younger brothers Mario (fronted 90’s-early 00’s rock band the Dragons), and Javier (early Punk band, the Zeros and later the True Believers). Pete’s daughter Sheila aka the pop star Sheila E. She’s best known for collaborations with Prince, including the chart-topping hits, “The Glamourous Life” and “A Love Bizarre.” The Escovedo’s are truly a family who’s contributed so much to not only American music but Latin music as well. The family is on a similar level of impact as the Marley‘s in reggae, the Marsalises‘ in jazz and the Carter‘s in country music.
Alejandro spent a lot of his teenage years (late 1960s) attending concerts of a who’s who of touring artists but never picked up instruments himself at that time. While being a film student at College of Marin, Alejandro and Jeff Olener co-founded the pioneering SF based punk band the Nuns in 1975 when they wanted to make a low-budget film about a strung-out rock singer and a band that could not play its instruments. The worst band in the world. In hindsight, luckily the two decided to start their own band. That version of the band split in 1979 and Escovedo stayed in NYC. Within two years, Alejandro relocated to Texas for a new band, one best described as cowpunk (aka country punk) band Rank and File, performing on their well-regarded debut album Sundown (1982). A year after, Alejandro and his brother Javier would co-found the band, the True Believers. Perhaps best classified as hard rock meets country rock meets punk rock. They released one album, True Believers (1986) and were beloved in their scene within Texas before breaking up in 1987. Although the lack of financial success was frustrating, in hindsight the bands Alejandro had played with created new subgenres and paved paths for bands following. After the True Believers broke up, Escovedo would be part of Buick MacKane, a part-time project that was a roots rock band with elements of garage rock and glam rock. The band named after a T. Rex song, released one album The Pawn Shop Years (1997).
Alejandro has released more than a dozen well regarded studio albums in his solo career. Escovedo’s debut studio album Gravity (1992), was followed by his other 90s albums Thirteen Years (1993), With These Hands (1996), and Bourbonitis Blues (1999). The 2000s saw Escovedo release the studio albums, A Man Under the Influence (2001), By the Hand of the Father (2002) which is a collection of songs from the play of the same name, as well as The Boxing Mirror (2006), Real Animal (2008), Street Songs of Love (2010), Big Station (2012), Burn Something Beautiful (2016), The Crossing (2018), and La Cruzada (2021) which reimagined his previous album, The Crossing in Spanish oration. Over his life, Alejandro has dealt with Hepatitis C, which has affected his career at times.
I’ve seen Alejandro a few times live, and he and his band always put on an amazing show. Alejandro’s in a class of his own. I suggest that you see him at least once.
And now Alejandro Escovedo’s first studio album in three years, Echo Dancing came out Friday March 29th 5th via Yep Roc Records for your listening pleasure. It’s a fourteen-song album that revisits his catalog. Escovedo says, “I was planning this record just prior to boarding a plane to Italy to record with Don Antonio and Nicola Peruch. My original idea was to record an album of new material. But then I changed my mind and thought that revisiting songs from my various past albums throughout my career would be more interesting. I have a great faith in these two artists to always create something interesting with whatever I might bring to the session. These songs were already dressed for the dance.”
Escovedo adds, “I find that recording in a foreign country opens the creative eye in a way that working at home lacks. Surprises were a daily occurrence, and we embraced them with exuberance. Is it the beginning or the end? I feel there have always been certain songs on my albums that have guided me to new approaches in my music. That is really the goal of recording. To keep moving forward no matter what it takes. That’s why I continue to work on new ways to tell these stories.”
Giving credit where credit is due, Echo Dancing credits:
- Alejandro Escovedo: voice, guitars, wrote or co-wrote the songs, arranged and produced the album.
- Don Antonio: guitars, bass, bass VI, organ, mellotron, electronics
- Nicola Peruch: piano, hammond, farfisa, wurlitzer, programming, modular synths
- Sergio Marazzi: backing vocals on “Wave”
- Nancy Rankin Escovedo: backing vocals on “Castañuelas”, art director and photography.
- Gianni Perinelli: soprano saxophone on “MC Overload”
- Don Antonio and Nicola Peruch produced the album with Alejandro.
- Engineered by Ivano Giovedi, studio assistant: Francesco Cinque
- Mixed by Ivano Giovedi at Waveroof Studio
- Mastered by Brent Lambert at The Kitchen Mastering
And now for some hype for your ears!
The passionate, petty, and fantastic sounding, “John Conquest”:
(All credits and rights to Alejandro Escovedo)
Originally from his debut solo album, the song “Bury Me”:
(All credits and rights to Alejandro Escovedo)
The sweet piano and lyrics on “Sensitive Boys”:
(All credits and rights to Alejandro Escovedo)
A song originally performed by Alejandro’s brother, Pete, “Inside This Dance”:
(All credits and rights to Alejandro Escovedo)
A historical song for millions “Wave”:
(All credits and rights to Alejandro Escovedo)
Overall, Echo Dancing is a welcomed reimagination. Some of the songs are stalwarts in Alejandro’s live shows, adored by fans, others are deeper cuts from his discography. As a listener, I’m eager and supportive when artists revisit their previous works, adding something here, taking away there, resulting in a completely new and/or reimagined song. Sometimes a remix is created, depending on the genre and artist. Often the results of that process are fantastic songs, sometimes completely new sounding to your ears. Either way, this is their art and process, and we have to respect that practice. This album is another one of those times. I love what Escovedo, Don Antonio, Nicola Peruch and the recording team did with this album. They used different instrumentation, pacing, mood and theming at times. One could analyze and overanalyze the order of songs, but I will not. I like the order in which they are presented and there is a nice flow throughout the album. The overall sound on the album is flawless, clean. The vocals and instrumentation sound fresh and tight.
In “John Conquest” the lyrics tell a tale of the English born, Austin based critic, John Conquest that frustrated Escovedo to the point of him creating this song and also saying he’d change his own name. The original song was “John Conquest You’ve Got Enough Dandruff to Bread a Veal Cutlet” appeared on the Buick MacKane album, The Pawn Shop Years. It was a lively, rocking song featuring guitars and drum sounds common in that mid to late 90s era. The new version offers a more modern sound in terms of a tighter more 2000s and later roots rock listening experience.
The reimagined version of “Sacramento & Polk” offers an even funkier version of the original, complete with jazz piano and a rockabilly intro. The original song first appeared on the album Bourbonitis Blues and the melody was a rocking good time. The lyrics are about life in San Francisco while living in transient hotels with his wife at the time, Bobbi, and the neighbors within.
“Bury Me” is off his debut album Gravity. The lyrics tell of desired items to be buried with at certain ages with themes of loneliness and despair. In the original version the melody is lively and has prominent bass, that compliments the drumbeat and synth and Escovedo’s vocals. The reimagined version features more twang within the instrumentation and some down home in the mud sound overall. The pacing is even livelier than the original led by the drumbeat and programming.
The song, “Everybody Loves Me” is originally from the Bourbonitis Blues album. That original version is a beautiful rocking melody with fabulous resonance from the guitars. The lyrics are contemplative, repeatedly wondering why they receive all the adoration. The reimagined version features more production in its melody, better described as atmospheric in an outer space like way. The vocal effects further enhance that atmospheric sound. Amidst the production is a grounded, boot stomping beat.
“Too Many Tears” is a two chord song. Originally it appeared on the album, Big Station. Co-writing credits to Bobby Daniel, Alejandro Escovedo, Hector Muñoz and David Pulkingham. The new version is faster pace and louder in volume than the original. There’s a lot more snyth and production as well.
The next song “Castañuelas” is a reworking of the song “Castanets” which appeared on the album, A Man Under the Influence. The original version was a danceable rock and roll melody with exquisite, memorable guitar solos, castanets and memorable lyrics that objectified a woman’s physique, ‘I liked her better when she walked away.’ It became a staple at the bands shows. The new version was inspired by cumbia music but is not trying to be cumbia, has a reggae-like bass, and modified lyrics especially on the refrain.
“Outside Your Door” is co-written by all members of the band the True Believers and originally appeared on the album Hard Road (1994) as one of the unreleased songs from their self-titled debut album. The new version is synth heavy and moody in tone and slowed down in pacing, compared to the original which was more upbeat in tone and quicker in pace. The lyrics tell of former romance and affection.
The song, “Sensitive Boys” is co-written by Escovedo and Chuck Prophet and originally from the album Real Animal. The original featured a lot of strings, Hammond, and both choral vocals and Alejandro’s vocals. It was a slow-moving song that allowed you to hear every vocal clearly. The new version drops the strings and emphasizes the piano and mellotron. The resulting notes are even sweeter, the tone of the vocals are even deeper with age and solely Alejandro’s now adding a bittersweet feel to the sound in the best ways. Aged like a fine wine.
“Thought I’d Let You Know” is originally from the Burn Something Beautiful album. A song co-written by Escovedo, Peter Buck and Scott McCaughey. The lyrics are reflective and present, the refrain is reassuring and lonely at the same time, alternating lines. The original version had a lot of discordant noise via guitar and organ. The reimagined versions melody is longer in length, has more synth and loops with Escovedo’s vocals sounding post-punk to the ear almost haunting at times. Children’s laughing ends the song.
The song, “Swallows of San Juan” was co-written by Escovedo and Chuck Prophet, originally from the album Real Animal. The original featured a melody that was strings heavy, a slow-paced ballad in my opinion. This new version has twang from a guitar instead of strings, and more piano. The pace is slightly faster. The lyrics are about an area that both Prophet and Escovedo have found memories of.
“Last to Know” is off his debut album Gravity. The melody is a twangy, country ballad with some great pedal steel that you could hear in a honky tonk joint. Brothers and singer-songwriters, Bruce and Charlie Robison add lovely harmonies to Escovedo’s poignant lead vocals. The lyrics tell of those who are a few steps behind in terms of communication. The reimagined version of this song has a melody that is anchored by a hearty production beat and intermixed pedal steel and twang. The result creates a unique sound that some will hopefully grow on some with time. Escovedo’s vocals are more drawn out than the original.
The song “MC Overload” originally appeared on The Crossing. And then it appeared on La Cruzada album. It was co-written by Escovedo and Antonio Gramentieri. The song title was in homage to Austin hip hop legend of the same name and the first line in the lyrics reference the genre, but the remainder of the song is more about anxiety ‘feeling overloaded,’ that is repeated in the refrains. The new version has a melody anchored by stripped down acoustic guitar, fantastic soprano sax by Gianni Perinelli and spoken word delivered vocals by Escovedo.
“Inside This Dance” is an homage to trío romántico songs Alejandro’s parents listened to, e.g. romantic ballads from Mexico of bands with three musicians all of whom also sang. The song originally appeared in the soundtrack for the play, By the Hand of the Father. The song is co-written by Escovedo and J. Steven Soles. Alejandro’s brother Pete sang on the original. It’s a song of sweet lyrics and slow, romantic danceable beat as the listener hears on the original version. The lyrics drop this album title, Echo Dancing. The melody of the reimagined version features prominent percussion that sounds like a time clock over the course of the song, and it becomes less of a trío romántico to the ear. The vocal delivery by Alejandro is slower than in the original, but still matching the pacing.
The closing song, “Wave” is originally from A Man Under the Influence and also featured on the soundtrack for the play, By the Hand of the Father. The lyrics tell of emigrating, specifically from Mexico to the US at the turn of the 20th century. A song Alejandro wrote for his father. The original melody was a ballad, with strained vocals from Escovedo and backing vocals from the band at the time. This reimagined version has more prominent drums and bass that give it a more bluesy melody than the original.
Echo Dancing gets 4 out of 5 Scum Drops from me on the new album scale. Only looking at this album’s versions not the original versions. It is a very good album. Many of the original songs were well-regarded by the critics and the fans and most of the reimagined versions will be welcomed additions by fans. I’m happy these versions exist. Whether you’re a completist or new to Alejandro, I highly recommending adding Echo Dancing to your collection on the format(s) of your choosing. If you’re new, this album is a good place to delve into his discography.
Echo Dancing Track listing (song length)
- John Conquest (3:15)
- Sacramento & Polk (5:17)
- Bury Me (4:46)
- Everybody Loves Me (3:43)
- Too Many Tears (4:46)
- Castañuelas (4:01)
- Outside Your Door (4:31)
- Sensitive Boys (6:20)
- Thought I’d Let You Know (7:13)
- Swallows of San Juan (3:56)
- Last to Know (6:48)
- MC Overload (4:44)
- Inside This Dance (5:30)
- Wave (4:56)
Total runtime: 68:06
I’ll always advocate that you take the time to listen to every album in its entirety. This process is usually an hour or less from start to finish. Along the way, you’ll discover your own favorite songs without the influence or bias of others. After a few listens on my own, the songs that are highlighted in green font above are my favorite songs on this album.
To find about more about Alejandro and his music, his merch, tour dates and socials, please see his site, here.
Thank you for reading and supporting good music.
Until next time,
Alex
Scummy Water Tower Productions co-founder, reviewer, business manager, and editor. Thank you for visiting this site: scummywatertower.com, and YouTube for Water Tower Sessions!
Contact me: alex@scummywatertower.com
