Bob Log III
So when you see a man in a jumpsuit and full-face helmet rigged up with a telephone receiver come barreling down the honky-tonk stairs in a lifeboat while beating away on a hollow-body guitar, don’t get out of the way. Jump right in there with him. And as long as you live, you’ll never forget what he taught you.Taipei Times December 2015
A man in a human cannonball suit soon appeared from a side door, his head completely obscured by a tinted black helmet, its front welded into a telephone which seemed to wirelessly amplify his voice to the audience. Bob Log III launched into a mind-blowing set, finger-picking his beaten-up black guitar for a sound of steel string blues and heavy rock n’ roll. The sound was reminiscent of Jon Spencer Blues Explosion if it had to be categorised, but his music would be better described as Jerry Lee Lewis crossed with a little of Tom Waits’ heavy industrial sounds.yorkpress.co.uk 2012
His guitar growls like a rabies-infested mutt, straight from the backyard of an Alabama whorehouse. The expletives he squawks are absolutely unintelligible, at least while the groan of his six stringed demon viciously dominates the aural realm. When the blanket of perfectly distorted guitar ends, which always coincides with a great victory stance, Mr. Log displays his propensity for what is only describable as ‘not giving a fuck’, which in his case takes the form of the perfect stage presence. beatsperminute.com 2012
Boobs were dipped in scotch, one fan took an accidental swan dive into the music equipment and Bob Log III managed to play slide guitar, drums and sing while balancing three women on his lap. heyreverb.com 2011
Should you never have had the joy of seeing Bob Log III play, let me attempt to describe it for you: picture a man in a shiny blue jumpsuit and a pilot's helmet wired to a telephone receiver, playing slide guitar with all the dirty, scuzzy joy in his heart. Add to that a kick drum and foot cymbal, the myth of a monkey paw in place of a right hand, and a setlist that includes songs named Boob Scotch, Bubble Strut and My Shit Is Perfect, and you'll begin to get the gist. It is loud and strange and electrifying, and how ecstatic it all sounds, that guitar glazed with a kind of sublime and honey-dipped happiness. theguardian.com 2011
One would have to be in a pretty foul mood not to be entertained by the mysterious awesomeness of Bob Log III. Sure, his musical skills are something to behold, his one-man-band brand of blues/Americana displaying dexterity, creativity, and plenty of good old rock â€˜n’ roll, but then there’s his wacky persona. At Monday’s packed Union Hall gig, Mr. Log leapt from behind the curtain that functions as the stage door in his signature getup: a full suit with bits of gold teasing at the bottom, and a dark-glassed racing helmet with a phone receiver wired as a mic. After a quick intro jam he shed the formality to reveal his shimmering gold full body suit, the very rocket man the audience had been waiting for, and burst into “Goddam Sounds Good” off the recently released My Shit Is Perfect. theowlmag.com
Bob Log III’s live shows are wild affairs. Bob likes to ride rubber dinghies across the heads of his audience and summon women onstage to stir his whiskey with their tits. nme.com 2009
-escaped St.Louie juvy only after learning how to drum on a pute and some junk ... with the consistency of a machine, but the soul of a delusional Celtic warrior.
T.O.M. (other guy-guitar/words/noises)
-son of an ex-Ukrainian gypsy popqueen who carried the jumpiness of her native music along with her during their move to Texas....then, passed it on to T.O.M.... A lot of Hawaiian slide albums were played on the house stereo.
Whiteside and T.O.M.’s bond blossomed with the mutual fondness of cheap beer and butts
Alice Austin is a singer, songwriter, and multi-instrumentalist from Vermont, currently living and performing in Los Angeles. Her sound ranges from vintage to modern, crossing over from a Classic Rock vibe to Americana. You will find Austin onstage in the great venues of Los Angeles singing and playing a suitcase drum set and guitar and simultaneously. Joined by "Charming" Charlie Peterson on pedal steel, dobro, or mandolin, this duo knows how to fill a space with the vibrancy of a full acoustic band. With them they bring a sense of intimacy as though they invited you over for dinner and an impromptu set of fine original music.
'Cowboy Summer' is a five-song studio EP that documents the past year of performances with pedal steel player Charlie Peterson. As her third and most recent release as a solo artist, Austin wanted to capture the development of this group of songs as they are performed live while working with producer Robb Torres. The result of the songs is a fairly accurate reproduction of the live show.
Austin's release from October of 2014, 'Left One In The Rain', is a compelling three-song EP containing elements of isolation, hope, acceptance, and surrender. Produced by Patrick Avalon in Los Angeles, the music the lends itself well to a sunny electro-acoustic style, yet retains its grounding in the solo artist's Classic Rock attitude.
‘To A Star In The Yard’, her album released in 2009, is Austin’s fourth full-length album, but her first solo record on which she has composed, arranged, recorded, produced, and performed all the the tracks. Some of the highlights on this album are the edgy 60’s throwback, ‘Sharp Side of the Knife’, and the garage-blues inflected ‘Graveyard Before Dark’.
Prior to solo performances, Alice Austin played with the Boston-based bands The Stark Raving Mad and The Lavas, and from her hometown Burlington, Vermont, Queen Tangerine and Zola Turn.
Signed to now-defunct Los Angeles label, Brick Red Records in 2002, (subsidiary Gold Circle Entertainment), Austin hasn’t missed a beat from the trials and tribulations of being signed and dropped all within a six-month span, rather persevered and thrived. The evolution of her songwriting has gone from irreverent punk-pop to an evocative perspective of the human condition. She has toured all over the east coast and southern United States, playing in such legendary venues as The Middle East Downstairs, The House of Blues Boston, The Knitting Factory, as well as South by Southwest and CMJ music festivals.