The Iguanas | Sin to Sin

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Rock: Americana Rock: Latin Rock Moods: Mood: Party Music
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Sin to Sin

by The Iguanas

Combining a fistful of longtime uncovered gems with a flood of new originals, the band presents an uncut shot of pan-americana pleasure.
Genre: Rock: Americana
Release Date: 

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  Song Share Time Download
clip
1. Sick
3:12 album only
clip
2. Pocho
3:19 album only
clip
3. Oye Mi Cumbia
4:26 album only
clip
4. Te Espero Allá En El Bar
4:30 album only
clip
5. Won't Sit Down
3:53 album only
clip
6. Lo Último
3:19 album only
clip
7. Waitin' for My Gin to Hit Me
5:56 album only
clip
8. Todo Cambia
2:30 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Cut at Piety Street Studios in the Bywater neighborhood of New Orleans’ upper 9th Ward, Sin to Sin was produced by Mark Bingham, whose credits run from R.E.M. and Dr. John to the New Orleans Klezmer All Stars and John Scofield.
“I think his most important role was to facilitate things,” says Rod Hodges. “It wasn’t so much that he was trying to impose a vision as he was trying to discover what ours was.”
“With Mark’s history,” says Joe Cabral, “there’s a lot of deep wells he can draw from, references to other people’s music. And he was secure enough to come into a situation [with the band] that’s almost like family, and say ‘I’m gonna get into that tide and ride it, let them guide the flow.’”
Ultimately 16 tracks were cut during the sessions, eight of which made it onto Sin to Sin. The album as it stands was rush-released to coincide with the New Orleans Jazz & Heritage Festival, but the band is not planning to leave the other tracks on the shelf indefinitely; in the meantime, here’s a listener’s guide to the opening eight.
1. “Sick”
The band christens the album with a tongue-in-cheek middle-finger salute that marries the spirit of Creedence’s “Born on the Bayou” with Ernie K-Doe’s “Mother-in-Law.”
2. “Pocho”
Call-and-response interplay between sax and band opens the track, then they settle into a funky groove where everybody gets a chance to slide into the spot for a tasty lick or three.
3. “Oye Mi Cumbia”
A bit of the late night dark side here, a minor-key haunt that features a bluesy, Mick-Taylor-meets-César-Rosas guitar intro and solo from Rod Hodges.
4. “Te Espero Allá En El Bar”
A moody, slowed-down cover of the song originally made famous by “El Bolerista De America,” Ramón Aviles.
5. “Won’t Sit Down”
Joe Cabral describes the track as having “a Sergio Mendes and Brasil ’66 vibe,” and features Sara Quintana on harmony vocals.
6. “Lo Último”
Cabral gets to stretch out some on the sax here, backed by a mesmerizing, tick-tocky percussion that gives the impression that it might have been lifted from the innards of a magical clock.
7. “Waitin’ For My Gin To Hit Me”
A somewhat sadly autobiographical tune written by the late Rockabilly Hall of Famer Ronnie Self, later covered by Steve Forbert’s former backing band, the Skeletons.
8. “Todo Cambia”
A mini fever-dream monologue in Spanish, replete with vinyl pop and clicks, found sound, and a side serving of Albert Ayler-esque atonality.

CREDITS
Rod Hodges - guitar, accordion, vocals
Doug Garrison - drums, percussion
René Coman - bass, keyboards, vocals
Joe Cabral - saxophone, bajo sexto, keyboards, percussion, vocals
Anthony Cuccia - percussion
Brian Coogan - piano on “Te Espero En Allá El Bar”; organ on “Pocho”
Sarah Quintana - vocal on “Won’t Sit Down”
Jerry Giddins - vocal on “Sick”
Produced by Mark Bingham at Piety Street Recording
Engineered by Wesley Fontenot and Nick Guttman
Mixed by Mark Bingham
Mastered by John Fischbach
PFAM release #1018 C&P Piety Street [Files & Archaic Media] (PFAM) & The Iguanas
www.iguanas.com
www.pietystreet.com

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