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SATURDAY JUNE 10 calendar

Album review from Free Press Houston


Review from Free Press Houston


John Wesley Coleman III — Microwave Dreams

Every now and then you hear an album that restores your faith in the spirit of man, that imbues in it a sense of pride and victory. Microwave Dreams is that album for me. I was first introduced to Coleman when he opened for NOTS at Rudyard’s. I felt ashamed that such a jewel resided in my state and I was unaware of his light. “Watching my love become a mom and I am a father, too, turn off the TV and hit the bed, waking up at 7 AM, waking up on the couch again…” Who is this wordsmith? He knows my life and my struggle, and his rock and roll is my life. “Jesus Never Went To Junior High” is an instant classic, it is Buddy Holly, it is Credence Clearwater without the privilege: “Jesus never went to junior high, if he did I not notice, I was sitting on the back of the school bus eating all the acid.” It is America, it is youth, it is brilliance: “Everybody’s got some stories.” Fuck the red hats and the class division, we are all out here, living through the day, arguing about lunch choices, mad about our children’s disinterest in extracurricular activities and missed assignments, waiting in traffic, GPS signal lost, coffee stains on our shirts, selectively remembering our youth. John Wesley Coleman III is here, singing your blues, “dance with me, motherfucker.”

All 4 Records/LPS tracked at Sonic Ranch is finished.

4 producers 4 albums all recorded at Sonic Ranch Studios using all 3 major studios there.

Louie Lino is finishing mixing one called “Hang Tight”.

Super Secret Records is releasing all 4 and there will be a boxset at some point in the future.

Aaron Blount is working on one now with me. Title not known yet. ..

Andrew McCalla is working on one now with me.  This one will be called “Strange Life”.

Greg Ashley one is done and is called “Blues For A Pecan”.

Tiny Mix Tapes Review – GREATEST HITS

Aw shucks >.<

thanks Grant…

By: Grant Purdum

I thought Greatest Hits was going to be one of those numbers where I have to skim through a few cutz to get to the meat of the matter. Couldn’t have been further from the truth; John Wesley Coleman sinks his hooks in you from track one, his odd, surreal sense of delivery driving a wide variety of songs (with a rustic, post-Calexico sheen that mostly shows up on the slower numbers, to boot) that seem more showcases of his personality than a practice in retreading indie-whatever themes and riffs. I love JWC for that. He’s off his rocker in a Zach Galifianakis kinda way (OK that’s just based on appearance, mostly), yet his songs can evoke anything from joy to wonder to intrigue to confusion to dark, dark places you don’t tell but your closest friends about. That’s how the last cut on Side A hits me, at least. Also: Red Red Meat, remember them? Love it, blues is dead, where to next? Side B has more spring in its step, care of tracks like “Miranda” (a cut my ear instantly warmed to, unlike a few of these, which take a second to grab you then never let go), a loopy love-grubber, and “Lawnmower Man,” an acoustic track that, while not uptempo, carries with it a momentum that will sweep you away, and FAST. Such a great way to end a quality album, with an intimate number that reveals perhaps more than any track that preceded it. You’ll want to learn to cover this song yourself, only to realize it ain’t the cakewalk you expected. Dude’s voice is right in the pocket, unblinking and all-knowing. The Walkmen ended several of their albums that way, walking through the snow, alone with the guitar, silent steps, private thoughts, truthful ruminations… If that doesn’t justify Greatest Hits’ lofty title, I don’t know what will. John Wesley Coleman IS the Lawnmower Man, believe that, fool.

John Wesley Coleman – Lovely new review in Slug Magazine

John Wesley Coleman III

Greatest Hits

Super Secret Records
Street: 10.23
John Wesley Coleman III = Chad VanGaalen + Scott Walker

When a person proclaims themselves to be a “trash poet,” I get apprehensions. I mean, dude, just let other people call you that. Regardless, Coleman, a garage rocker out of Austin, Texas, is all about the use of such labels to disarm his listeners up front. Although, it doesn’t take long to hear why. Greatest Hits, another ironic cue, opens up with his immediately jarring voice singing the track “Bong Song.” I kept waiting for it to make sense, aesthetically or otherwise, but it never really happened. Some of his country songs like “Fallin’ Out of Love” and “Pick Up the Phone” are way more tolerable than when he goes into rock mode. However, I fear that giving this album an outright negative review would somehow validate his delusion of being a slacker rock hero. So I’ll just say that it wasn’t my thing. –Nic Smith