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NMF4: Saturday Sirens/Gregg Standridge/Man-made Objects

Rock, country and shoegaze in a row

 April 29th, 2011

 

After arriving too early at Blackwatch Stage for Unwed Sailor, I also arrived too early at Opolis for ManMade Objects. Instead, I caught the end of Saturday Sirens' frantic set. They were really pounding on their instruments and voices. It was a pretty impressive ruckus with a lot of movement.

Heading up the street, I stopped in at Bluebonnet Stage and listened to Gregg Standridge's country/folk/Southern rock amalgam. His band was sharp, and the sound was tight as a result. Ranging from outlaw country to ballads to crunchy tunes, the band went through a wide range of sounds. Each was pulled off impressively, not showing any signs of preference or of weakness.

After thoroughly enjoying Standridge's music, I returned to Opolis to actually catch Man-Made Objects. Their tunes fell in the space between psych and shoegaze, which made for a woozy, mind-melding experience. The band didn't move around much, but they made up for their lack of motion in dissonant volume. Fans of reverb and My Bloody Valentine should perk up their ears.

-Stephen Carradini-

 

 

The Norman Transcript

May 6, 2011

NORMAN — Gregg Standridge

“Songs About Trains and the People Inside”

(Witch Sermon Productions)

 I was fortunate to cross paths with Gregg Standridge at this year’s Norman Music Festival and snag his new album.

Standridge is well-known in our music scene, both as a singer/songwriter and a guitar instructor here for decades. He has an unmistakable voice that’s gently sincere and comforting to hear. Standridge is the kind of pedagogue who looks forward to learning from his students and even thanks them in these liner notes for the privilege of doing so.

He’s also a guy rich with musician and vocalist friends. Fourteen Norman musicians perform throughout these 17 original tracks. There’s a children’s chorus for the song titled “Clyde” with five more names.

This is obviously a theme record, but don’t come away with the impression that it’s just railroad tunes. The “train” is more a metaphor for life’s journey, the people we meet along the way and how that experience is more important than the destination.

The music is a good amalgam of thoughtful folk, gutsy Red Dirt and cerebral rock. The level of musicianship by all is first-rate. Standridge wisely taps a wealth of sweet female back-up vocalists who add immeasurable depth to several compositions. His lyrics could be described as poetically realistic, coming from a life of careful observation with its share of pain, joy and dreams.

The CD package itself is highly artistic, utilizing vintage 19th century photographs from when trains were America’s most important connector.

Get this delightful disc at www.greggstandridge.com.

-Doug Hill-

Norman Transcript

 

 

     " Local guitarist Gregg Standridge is possessed of a bone-weary, road-hardened voice that evokes far more than any lyric ever could - it's this distinctive wounded tenor that binds together the ten tracks comprising the Gregg Standridge Band's sophomore record, "Southside Songs and Stories."

     With help from numerous local luminaries - guitarist Wess McMichael, bassist Steve Tillman, drummer Dean Brown, violinist Natasha Nottoli, guitarist/mandolin player Terry "Buffalo" Ware and guitarist/keyboardist Brian Eads - Standridge builds compelling, rustic portraits that linger lovingly in your speakers; "Devil Won't Dance" features some truly beautiful mandolin work from Ware and "Blue Hat is the perfect dose of melancholy.

    Recorded at Three Legged Dog studios in Norman, Standridge has made an album great for curling up with some blustery winter night - it's a record that is best appreciated in front of a crackling fire with someone you love.

                                                                            -Preston Jones-

                                                             Oklahoma Gazette

 

     Norman singer/songwriter Gregg Standridge's Red Dirt caked vocals deliver skillfully crafted lyrics on his latest self-released album. Sounding a bit like James McMurtry and singing with an accent that allows him to rhyme "bar" with "wire" ("Circus"), the title alludes to the narrative quality Standridge inserts into each track. While the vocal delivery and content remain consistent, the disc freely roams a wide range of musical styles across ten tracks. From the Willie Nelson-esque "Rupert and Jim" to the frantic ska of "Circus" and the funk of "Do AS Your Told" (sic), Standridge is hard to peg in one style. The variety present may have something to do with his enlistment of several local musicians, including Wess McMichael, Alan Orebaugh (Wide Mouth,) Dean Brown (Mystery Dates) and Terry "Buffalo" Ware.

                                                                                                             -Josh McBee-  

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