About the Banditos:
Banditos' new album Visionland is coming June 23rd, 2017. Produced by Israel Nash and Ted Young, the Birmingham/Nashville-based group’s second full-length has one foot firmly planted in reality as the other tip-toes in and out of mental complexities, self-perception and altered-state illusions. The results are revealing, exhilarating and profound.
Originally from Birmingham, AL, Banditos is a group - more like a gang, actually - of six 20-somethings, nowadays operating out of Nashville, close to, and simultaneously very far away from, the gleaming towers and industry hustle of Lower Broad and Music Row.
With the rugged power of a flashy Super Chief locomotive, the Banditos’ self-titled debut album bodaciously appropriates elements of ‘60s blues-fused acid rock, ZZ Top’s jangly boogie, garage punk scuzz a la Burger Records, the Drive-By Truckers’ yawp, the populist choogle of CCR, Slim Harpo’s hip shake baby groove, the ebullient folk of electric Dylan, gut bucket Fat Possum hill country mojo and the Georgia Motherf**king Satellites. From backwoods bluegrass, to slinky nods to Muscle Shoals soul and unexpected bits of doo-wop sweetness, the Banditos recall many, but sound like no one but themselves.
The members of the band first met playing in various punk and rock ‘n’ roll projects around Birmingham at D.I.Y., all-ages venues. In 2010, singer/guitarist Corey Parsons and singer/banjo player Stephen Pierce began busking around town and were soon asked to perform at their favorite local bar. Without a full band they invited friends Randy Wade (drums), Jeffrey Salter (guitar), and Mary Beth Richardson (vocals) to join them.
Salter and Wade studied together at music school learning classical/jazz techniques, while Richardson’s background was mostly singing in church choirs. After some apprehensions from Richardson about taking the stage with an unrehearsed band, a last-minute trip to New Orleans with the group (which resulted in a stolen hotel Bible inscribed with the band’s lyrics) seemed to cure a case of the cold feet. The ensuing performance was raw and electric, and an ecstatic crowd response further cemented the members’ convictions to become a full band. The addition of bassist Danny Vines made the group complete.
The members soon moved into a house together in Birmingham, and after repeated tours through Nashville, decided to move the band there instead, where the music scene was bigger and more diverse. The sextet has since developed their unique and airtight sound, culminated through several years of enduring friendships and a roaddog touring schedule that has, at their count, numbered over 600 shows in three years.
The group has been praised by NPR (“Three vocalists, a wicked guitarist who also plays pedal steel, a banjo, an upright bass and a hot-footed drummer guarantee that every song they play is stuffed with crazy rhythms and melodic energy.”), Rolling Stone (“Equal parts alt-country twang and garage rock bang...recalling everything from ZZ Top's greasy boogie to the Alabama Shakes' coed soul”), and Garden & Gun (“These six keyed-up twentysomethings mix a hodgepodge of sounds. Sometimes it’s barroom country backed by a rogue kazoo, and other times it’s a chicken-picking version of slow-burning soul behind the Janis Joplin–esque wail of Mary Beth Richardson”). They have performed across the world supporting acts like St. Paul and the Broken Bones, Blackberry Smoke, and Old 97’s, and notably at prominent events like Newport Folk Festival, Hangout Fest, and Rachael Ray’s Feedback.
After spending much of the last two years on the road, relentlessly showcasing their critically acclaimed 2015 self-titled debut album, the six bandmates of Banditos regrouped in late 2016 at Plum Creek Sound Studios and democratically poured out sonic influences and emotionally charged personal experiences for their new album Visionland.
Produced by Israel Nash and Ted Young, the Birmingham/Nashville-based group’s second full-length has one foot firmly planted in reality as the other tip-toes in and out of mental complexities, self-perception and altered-state illusions. The results are revealing, exhilarating and profound.
The album-titled track reveals these defining, cohesive thematic intricacies. “Visionland” is named after the defunct $60 million theme park that was built in the late ‘90s near some of the band members’ childhood homes in Bessemer, Alabama. The park was shut down after only five years and the schizophrenic glimmer of hope it offered local residents connects to a greater overlying optimism for life present at the album’s core, an eerily relevant theme in contemporary complex times. Jeff Salter’s sweeping guitar strums swell at the song’s intro, lifting through the murky haze into the warm and sunny clarity of a duet between singer Mary Beth Richardson and singer/guitarist Corey Parsons.
“Strange Heart” rides to new 13th Floor Elevators psychedelic heights, with Richardson’s scorching, raw, show-stopping voice echoing Merry Clayton’s chilling performance on The Stones’ “Gimme Shelter.” Later in the album, singer/banjo player Steve Pierce channels the ebullient folk of electric Dylan with his free & easy flow on “Fun All Night.”
There is a shared mindset throughout; a persevering glint of what could be, a distorted possibility, struck by a frigid gust of reality. Like some sort of modern day, Southern-born The Band, some songs were written over years by a single member (the surfy jam “Lonely Boy,” which was written by singer/guitarist Parsons in response to being tour weary), others by a combination of the players (the punk-garage soul, Stooges-meets-Velvet Underground churner “Fine Fine Day” was penned when Parsons and Pierce drank massive amounts of vodka one day in Opelika, Alabama) and the dynamics show for it. There's a phantasm of vintage ‘60s Etta James soul (plus burning-hot background singers) on “Healin’ Slow” and, later, the hopping country blues of “DDT." Topics and styles range this way on Visionland - the heavy and emotional to the light and simplistic - but the Banditos always sound like themselves and always drive the nail deep into the groove.