Tammany Hall Machine | Tammany Hall Machine

Go To Artist Page

Recommended if You Like
Elliott Smith Queen The Beatles

Album Links
Tammany Hall Machine Tradebit PayPlay Apple iTunes Bitmunk Emusic GroupieTunes PassAlong

More Artists From
United States - Texas

Other Genres You Will Love
Rock: 60's Rock Pop: Beatles-pop Moods: Featuring Piano
Sell your music everywhere
There are no items in your wishlist.


Choose 3 or more different CDs from our Sale Bin and get each CD for just $5. Each CD will be listed at full price until you place at least 3 different eligible CDs into your shopping cart. You can get 3 or more CDs for $5 each, so sample as much new music as you want!
NOTE: Download purchases are not eligible for the $5 sale.

Find more eligible titles here.

Tammany Hall Machine

by Tammany Hall Machine

"The band mixes the 60's pop of the Kinks with the art rock of David Bowie to create a refreshing pop sound with rock grit." -- Austin Music Magazine
Genre: Rock: 60's Rock
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
just a few left.
order now!
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Intro
2:04 $0.49
2. Apple Moon
3:24 $0.49
3. Factory Light
4:14 $0.49
4. Animal
4:39 $0.49
5. In a Blonde Wig
4:03 $0.49
6. Bra Strap
2:37 $0.49
7. High Lonesome
2:55 $0.49
8. Sl & Sc
4:43 $0.49
9. Pretend
5:45 $0.49
10. Happy Birthday LSD
6:54 $0.49
11. Lovesick
1:37 $0.49
Downloads are available as MP3-320 files.


Album Notes
Tammany Hall Machine began in 2003 as a recording project in a dusty garage in Buda, Texas, and has since grown into one of the most exciting live bands currently inhabiting the Austin music scene. Playing expertly-crafted 60’s-influenced pop with a mid-90’s noise-rock sensibility, the band has gained a loyal following and has earned a stellar reputation for both its originality and its raucous live shows.

The original lineup included singer-pianist Joel Mullins, guitarist Geoff Dupree, bassist Mick Southerland, and drummer Jonathan Kollar. The band released its self-titled debut album in December 2004, and although the record received rave reviews from a variety of local and national publications, it was only after the addition of multi-instrumentalist Nick Warrenchuk that same month that the band really began to find itself.

In 2006, Tammany Hall Machine was recognized by readers of the Austin Chronicle as one of the best new bands in Austin, and in April, they toured the Midwest, playing a series of highly-successful shows, including an appearance at the International Pop Overthrow Festival in Chicago, Illinois.

Tammany Hall Machine's new album, Amateur Saw, was recorded by ex-Halley drummer Scott Oliphant and was mixed by Erik Wofford.



to write a review


This CD will consume your stereo
I am no expert, but having listened to this CD nonstop for several days, I feel the need to get wordy with it. I can tell you that it's good at first listen, and even better as it grows on you... and it's not just one or two tracks that are good... You'll find yourself humming several of them at various different times of the day. I haven't loved a CD this much since Fountains of Wayne's Welcome Interstate Managers and Jason Mraz's Waiting for My Rocket To Come.

After the gritty lap steel from Intro and the get-some boogie from Apple Moon, Factory Light is a sweet, relaxing make-out song that tastes like a good, medium roast coffee with just the tiniest hint of Chris Isaak.

For a while I thought Factory Light was my favorite, but then on my 3rd spin of the album, Animal (track 4) quickly dispatched Factory Light and took the lead. The Beatles influence in this tune is strong, which gives it a great big hash mark in the plus column in my opinion. Plus, you just have to love it when lead singer Joel Mullins just lets it loose at the end.

In a Blonde Wig (track 5) starts off with a whimsical melody and evolves into a well-rounded tune with good beats and harmonies. It's in this song that you begin to realize Joel's remarkable vocal range and the band's overall talent.

More lap steel guitar in Bra Strap, an instrumental intermission that surprisingly, I don't skip but rather drift off into some otherworldly trance as I type, drive or whatever.

Don't be scared when you hear the word 'country' as used to describe High Lonesome (track 7). It's a little bit country, and a little bit rock and roll (you'll just have to excuse the bad pun, because I really mean it) but it also brings to mind faintly Fountains of Wayne (mentioned earlier), if only because it signifies the extreme versatility of Tammany Hall Machine. In this song too, the vocals are the cat's mizzy-yow.

While SL & SC's (track 8) lyrics seem a bit contrived and I can't help but mentally replace a few of the words in my head with ones that I think would have worked better, I do love the melody, harmonies and the giggles I get when the chorus comes around, and again with the vocal let-loose somewhere near the end.

Pretend (track 9) manages to boggle you again with yet another style switch, this time reminiscent of Martin L. Gore with the buttery caramel vocals, Depeche Mode style harmonies and soothing piano-centric structure.

With Happy Birthday LSD, the band comes full circle back to the uptempo style, combined with simple lyrics, this time mixing in a bit of organ for a surfy-type sound and building up to a noisy psychedelic brain-fry that subsides into a calmer melody with occasional axe grinds that eventually peter out into blessed silence. I think they've captured it.

The experience is finished out by Lovesick, which is a cute little song that seems unfinished but puts good use to the ukelele (I think).

All in all, the band has an overall style and range that cannot possibly be encompassed in one or two songs, so each song has it's own individuality. I think there's a little bit of something here for everyone.

Not Lame Recordings

Simply, `wow`!
Rock critic types bandy around the term `beguiling`, I`ve noticed in the decade of doing Not Lame and other additional two decades of reading rock press, but I`m using it here today in a most pleasant, hopefully un-confusing way. Tammany Hall Machine are most fascinating, tasty and beguiling sort of pop/rock band. From Austin, Texas Tammany Hall Machine fuse together, as many bands do, a diverse parade of influences immediately appealing to the Not Lame sort of person - The Kinks (lots), The Flaming Lips(the right parts), Elliot Smith (when in a happy mood), XTC (the moodier side, "Mummer"-era), The Beatles (the `ingesting` era), a bit of Jellyfish (see previous) and a lot (at least to these ears) of Austin`s own dearly departed, The Texas Instruments. Simply, `wow`! The material here, generally, does not jump right out and grab one by the hair, but come that second listen those ears know something is up and harken to put down that distraction in your mind and pay attention. Attention, while not required, is a highly recommended way to properly, ideally enjoy the, uh, beguiling spirit here.


Editors Pick
Probably the only good thing about Texas is the Austin music scene. Tammany Hall Machine are lucky to be a part of it; incredibly though the scene is staggeringly massive and richly filled to the brim with talented bands of all genres, Tammany Hall Machine somehow manages to stick out. Almost psychedelic with an indie pop feel that brushes closely with the likes of the late Elliott Smith for a sound you might expect to hear on some old 45 from the ‘60s. Very cool indeed.

Aiding & Abetting

Tammany Hall Machine is simply good. And that's more than enough.
Four guys from Austin who sound like four guys from anywhere trying to make old-fashioned rock and roll. Well, more like an indie-rock take on the bar band ideal. Which is something I can handle in an instant.

So there's a bit of navel-gazing and then some tambourine jangle. The lyrics aren't too complicated, but they tell some fine stories. You know, kind of a comfy suit sorta sound.

The production is where the band does show its true stripes. This is a stripped down, simple sound, with just a bit of reverb and enough electric piano to fill in the gaps. Oh, and there's a bit of lap steel, but let's not screw with my theorizing, okay-dokey?

Just a fine album put together by some folks who obviously know how to make a song really sing. It's not complicated or pretentious or anything like that. Tammany Hall Machine is simply good. And that's more than enough.


Tammany Hall Machine have created a professional sounding Indie Rock album
After several months worth of listening, I've realized that Tammany Hall Machine have a definite sound, although each individual song on the record manages to sound different from the others. That's an impressive feat, because normally at least one song on an album sounds remarkably similar to another one. As an album, Tammany Hall Machine would seem to offer something to people with a variety of different tastes, where you like semi-country, or garage rock, or psychedelia, or just plain good music.

The Austin Chronicle

Die-hard fans of purist pop should take this wild ride.
The greatest risk in channeling the classic pop sounds of the Sixties and Seventies is winding up with nothing more than tuneful derivation. The Tammany Hall Machine expresses earnest reverence with just enough distinction to avoid falling into that trap. Augmenting solid pop songcraft with strategic dashes of psychedelia and twang, the local quartet's taut 11-song debut sounds familiar in a unique way. THM has a discerning ear for arrangements, having the sense to pile on or pull back at all the appropriate junctures. Opener "Intro" tricks you into thinking this is an idyllic, Wilco-leaning road trip, then "Apple Moon" pops its happy way toward a confluence of the Move and Cheap Trick. Pianist/guitarist/vocalist Joel Mullins has a warm, everyman kind of voice that resonates with longing romantic idealism on songs like "Factory Light" and "Pretend." Perhaps the most clever song here is "SL & SC," which uses the TV rating codes for "strong language" and "sexual content" to advance a wry hook-up narrative. "Happy Birthday LSD" is a psych-pop romp that goes slightly haywire before landing in a melancholy lap steel haze. Die-hard fans of purist pop should take this wild ride.

INsite Magazine

Tammany Hall Machine's music has an orchestral sound to it. The songs are like m
Although likened to The Beatles, Elliott Smith, and the Flaming Lips, while I listened to the debut album by Austin-based Tammany Hall Machine, I kept thinking about the 1990s band Jellyfish.

Tammany Hall Machine's music has an orchestral sound to it. The songs are like mini-productions and the lyrics are poetic and interesting. The eleven songs, which come in right at forty-three minutes, play like ear candy and the album seems to end too soon.

The country-esque "High Lonesome" makes for some interesting word play...rhyming "analytic" with "Chappaquiddick," for instance. "SL & SC" gives warning like that of a television program as it stands for "strong language and sexual content." The old-school psychedelic rocker "Happy Birthday LSD" is as much a tribute to the drug as a warning of its evils.

"Animal" is literally dinner conversation, a one-sided conversation as recited to what will become supper. As I type that I realize it doesn't read well in print, but believe you me, it'll have you singing it after one listen. "The masterpiece is almost done/ the more my stomach growls the faster you run / I never lied to you about my intention."

Tammany Hall Machine is made up of songwriter/singer/pianist Joel Mullins, bassist Mick Southerland, guitarist Geoff Dupree, and drummer Jonathan Kollar.

Delusions of Adequacy

An intriguing mixture of Beatlesque pop, Let It Bleed-era Rolling Stones classic
If the year were 1969 and liberals didn't drive SUVs, conservatives knew how to pronounce the word "nuclear," astronauts still flew to the moon, the Simpson sisters didn't exist, and country, soul, and rock music could exist as one; the world might not be a better place, but at least a band like Tammany Hall Machine could be played on the radio. While the self-titled debut from the Austin band has its problems (what it lacks in originality it makes up for in passion), for the most part, it is an intriguing mixture of Beatlesque pop, Let It Bleed-era Rolling Stones classic rock, psychedelic country, and even a few traces of Stax/Volt-styled R&B.

Kicking off with a 30-second desert-trance meditation ("Intro") before thrusting into a hardcore country-rock crunch ala "Honky Tonk Women" ("Apple Moon") and a sublime Burrito Brothers-style ballad ("Factory Light") that would make for a perfect soundtrack to staring at the bottom of an empty beer glass in a barren West Texas town, the album emerges with a rollicking bang. The three numbers are a perfect introduction to the impeccable taste, soulful harmonies, and 60s-styled musicianship the Tammany Hall Machine exudes throughout much of the remainder of the disc. Following the masterful opening three songs, the band's self-titled debut glides into a few psychedelic-tinged numbers ("Animal," "In a Blonde Wig," "SL & SC"), a couple of lonesome country waltzes ("Bra Strap," "Lovesick"), and an ironic and mildly funky love letter to LSD ("Happy Birthday LSD").

The CD only features one major misstep, a piano ballad called "Pretend" that begins to bog itself down with ill-fated attempts at deep soul, but that can be easily overlooked given the strength of the remaining ten tracks on the record. Tammany Hall Machine's devotion to the past may be a bit much for some listeners, but the sheer love the band obviously possess for the psychedelic and roots-oriented music of the late 60s/early 70s overcomes the derivativeness.

Now if only humans could come up with practical sources for fuel, affordable intergalactic travel existed, nuclear war was just a Sun Ra classic, news of Britney Spears' pregnancy didn't lead local newscasts, and a band like Tammany Hall Machine could get played on the radio; the world might be a perfect place.

Don Spak

Are these guys for real?
I've heard that these guys are all gay and playing gay bars in austin secretly...


This will make you jump
What a great sound! You can dance your ass off to Apple Moon! Go boys go!
1 2