Leon Laudenbach: Press

Leon Laudenbach
The Gospel Truth ... According to Leon
I've said it before, and I'll say it again: Leon Laudenbach is one of the best and most underrated singer/songwriters in Central Minnesota. Of course, it doesn't hurt that Laudenbach consistently surrounds himself with some of the best musical talent in St. Cloud. Even so, you can have all the support you want, but if the songs don't cut it, the music still will stink.
Laudenbach has recorded under a number of monikers, including Taboo Blue, Buddwa Mambos and Lee Harvey and the Buddwas. This time around, it's just plain old Leon, or more properly, "The Gospel Truth ... According to Leon." From the name, you might think Laudenbach has recorded his first gospel album. Instead, he sticks to a roots rock vein that blends rock, folk and blues.
There are a lot of great songs here, but some of my early favorites include the bluesy "2012," the countryfied "The Good Times and the Bad, Bad, Bad" and the endearing "A Path on the Outside." On "The Gospel Truth ... According to Leon," Laudenbach and company succeed in every aspect of what they're trying to accomplish. They're not in search of fame and fortune. Oh no, these are just a bunch of blue collar musicians looking for answers and friendship in music — and having a good time pulling it together in a record.
"The Gospel Truth ... According to Leon" is available at the Electric Fetus. And that's the gospel truth ... according to Karl.

We kennen hem natuurlijk al van de fantastische Buddwa Mambos, wiens “Work Songs” we onlangs mochten bespreken, maar ook de band Taboo Blue is zijn geesteskind. Deze bezige bij voorziet ons dus rijkelijk van goede muziek de laatste jaren. Dit nieuwe werkstuk verschijnt nu onder zijn eigen naam. Als je de titel hoort verwacht je deze keer een gospel plaat van deze man met de vele aliassen, maar hoewel hij dikwijls van naam verandert, blijft zijn muziekstijl onveranderd. Dat is maar goed ook, want de mix van blues, rock en folk, rijkelijk voorzien van mooie gitaren, slide, dobro en banjo is een ideale muziekvorm waar hij met zijn sterke songschrijverstalent zijn ideeën in kwijt kan. Net als op de eerder besproken Buddwa Mambo’s krijgen we hier een soundje met gitaristische verwijzingen naar J.J Cale, Mark Knopfler en op enkele momenten zelfs Richard Thompson. Alles zit in een laid back, easy, relaxed sfeertje en de cd kabbelt op een aangename wijze verder naar zijn eindpunt. De titelsong “The Gospel Truth..” met Tiny Tim achtige koortjes is grappig, “Barb Wire” is prachtig in zijn eenvoud, JJ Cale kon het niet beter. Een beetje gospel sfeer krijgen we wel in “No Shade For The Stone” waar de pedal steel van Andy Dee een mooie aanvulling vormt voor Leon’s slide gitaar, die klinkt alsof Ry Cooder wat komen helpen is. Of het bluesgetinte: “Half The Way There” waar een mondharmonica en banjo voor een apart sfeertje zorgen. We krijgen uiteindelijk iets meer tempo in “Iron Lungs Cold” maar het Ierse tintje in “Mc Donalds Pub” maakt toch weer plaats voor het lazy Knopfler gitaartje in “Pretty Name For Whiskey”. Begrijp me echter niet verkeerd, de muziek die Leon maakt is zeker geen Dire Straits imitatie, integendeel, al klinken de gitaren soms wat in die richting, Leon’s muziek heeft meer dan alles een eigen gezicht, zijn vocals zijn direct herkenbaar en hebben iets unieks, en al heeft hij 3 of vier verschillende bands, zijn stempel drukt hij steevast op elk van hen. Ik hou van deze man zijn muziek, ben benieuwd naar Taboo Blue, hoewel ik nu al weet dat ik daarvan zal genieten, want na de “Buddwa Mambos” en deze “The Gospel Truth” ben ik onvoorwaardelijk fan van Leon Laudenbach.

TABOO BLUE/ MOOD SWINGS
Blues Access, Fall 1999
Third cd from this Minnesota crew offers low-key blues- inflected rock with thoughtful songs like "Hurtin' Don`t Feel So Bad," and "Believe in My Dreams." the bonus live tracks at the end show that they can up the ante in front of a crowd.

TABOO BLUE/ MOOD SWINGS Blues Revue, October 1999
Leon Laudenbach Sings like a slightly distressed John Hiatt as Taboo Blue convincingly pulls off heartland rock, cruising through unabashed roots thumpers and tough-of soul ballads.

Taboo Blue
The Wrath of God and a Plymouth Fury III
(Narnian WRA8-1702)
by Gordon Baxter
Review date: October 2002

"Keeping the Blues Alive Award"
Achievement for Blues on the Internet
Presented by The Blues Foundation



The title of Taboo Blue's fourth album conjures up visions of a band that play the blues in the sort of style favored by bands like The Gun Club. These first impressions are false, however. "The Wrath of God..." turns out to be much gentler on the ear, mostly alternating between rockier material and rootsier Americana.
The album opens with "Steel Rail" where all the impressions conjured up by the albums title and the sleeve get blown away. It chugs along nicely, and the nicely restrained guitar work shows off the rockier side of the band. Their other side is displayed on track two, "So Bad," which is much more laid back and slower. The tune has shades of earlier Bob Dylan to it, whilst the slightly smoky vocals hint at Steve Forbert.

The title track of the album (which is also reprised as a closer) initially reminded me a bit of the Stranglers, mainly due to the way that the keyboards provide the foundation and drive the tune along. Subsequent listenings, however, suggested that the Doors are probably a better comparison, particularly after listening to "Paint The Kettle Black" which also has some of the feel of early British blues boom about it.

The band seem equally at home whether they are playing more upbeat numbers, or going for a more laid back feel. The songs on the album are almost evenly split between the two basic styles, so with a bit of careful programming you could even listen to the different styles individually. Of the rockier tracks, the dark and broody "Feminine Side" with its tasty slide guitar is probably the best. From the more laid back songs, the Tom Waits-like "Boys Ain't Poison" is very good, but pipped by "No One Most Know" which has some particularly good keyboard and piano playing on one of the best Dylan tunes that he never wrote.

"The Wrath of God and A Plymouth Fury III" is a good album. Taboo Blue almost seem a bit Jekyll and Hyde-ish with the two fairly contrasting sides to their music. The album should hold some appeal for fans of either (or both) styles. It is testament to the skills of bandleader and songwriter Leon Laudenbach that the two styles work so well when placed side by side, to make the whole album so coherent.

Taboo Blue, largely behind the song writing strength of Leon Laudenbach, have put together a solid album, in Mood Swings. With their roots in the St. Cloud, Minnesota area, these guys have put together a solid band on the strength of its musicians. Aside from the creative and talented Laudenbach, the band draws energy from its other members, Doug Field on bass, Johnny Schwartz on guitar, Aaron Virnig on drums, Chris Schuette on keyboards, and Mark (Sparky) Anderson on harp and sax. Together they have recorded and released eleven original songs on Mood Swings, including the title track. Among the recommended, " 67' Farline," with some great piano licks, and the much too short "Bury the Plow," and the fun "Jack the Cat." The disc ends with four live tracks, including Willie Dixon's "Back Door Man," and Billy Boy Arnold's "Come Back Baby." Be sure to check out their live show also.
This review is copyright © 1999 by Mike Evan, and Blues On Stage, all rights reserved.

TABOO BLUE/ Self Titled
St. Paul Pioneer Press -
"I have to hand it to Taboo Blue for coming up with a kind of musical ipecac to clear my system. What this St. Cloud trio offers on its raw debut is a set of bare-bones blues tunes. The cool low-key arrangements are reminiscent of stripped-down version of early Tom Waits, right down to the front man Leon Laudenbach`s hoarse, growling vocals, an enjoyable labor of love. "
- Rob Hubbard 1993