Artist Information
Biography
T BIRD AND THE BREAKS
www.tbirdandthebreaks.com
T Bird and the Breaks are one of those gangs of people who could have easily banded together to steal hubcaps or hustle you out of your last dollar in a game of street craps. Lucky for all involved, they chose to make music.
The core of this band of musical miscreants consists of Tim Crane on vocals and piano and an unstoppable rhythm section consisting of longtime partner in crime Sammy Patlove on drums and Cody Furr on bass. Johnny “Too Bad” Allison and Sasha Ortiz, on guitar and vocals, add the icing on the red velvet cake.
With a sound that pulls from the origins of hip hop, the alleyways of the Crescent City, the grease and grime of an old-school soul review, and all seven of the deadly sins, the Breaks have developed into a locomotive; slowly pumping across America, leaving crowds drenched with sweat and walking funny the next morning.
By playing show after sold-out show, T Bird and the Breaks have amassed a die-hard following of fans from Texas to the Bird’s home state of Massachusetts to San Francisco and back again.
Currently, the band is hoarding miles of tape — song after song with a new sound — waiting for the moment when the people are ready to hear the sickness that plagues T Bird and the Breaks: chunk music.
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Booking:
tbird (@) knucklerumbler.com
Management:
Knuckle Rumbler
tbird (@) knucklerumbler.com
T Bird and the Breaks
www.tbirdandthebreaks.com
http://www.facebook.com/pages/T-Bird-and-the-Breaks/45790237588
www.myspace.com/tbirdandthebreaks
www.sonicbids.com/tbirdandthebreaksepk (EPK)
Instrumentation
Tim Crane: Lead Vocals
Stephanie Hunt: Vocals
Sasha Ortiz: Vocals
John Allison: Lead Guitar
Sam Patlove: Rhythm Guitar, Drums
Cody Furr: Bass Guitar
Matt Price: Trombone
Stephen Beasley: Baritone Sax
Houston Rawls: Tenor Sax
Discography
"Spread the Love", single, (Oct 2010)
"Monkey in the Trees", single, (Mar 2010)
"The Piano Joint", single, 7" vinyl, (Jan 2010)
"Rock That Skull", single, 7" vinyl (Dec 2009)
"Monkey Wrench", Single, 7" Vinyl, (Nov 2009)
"Learn About It", Full Length, (January 2009)
"Learn About It", Full Length, Vinyl, (October 2009)
"T-Bird & The Breaks", EP, (2008)
Links
Video
Photo Gallery
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Press
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CD Baby [Editors Pick]
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Reminiscent of modern soul revivalists The Dap-Kings, but with a Wilson Pickett-esque vocalist, T B...Reminiscent of modern soul revivalists The Dap-Kings, but with a
Wilson Pickett-esque vocalist, T Bird and The Breaks are a big-ass
funky soul band with giant pockets and even bigger grooves. This is
soul music the way it's supposed to be: big, live, and funky, with a
tight band who know when to play clean and when to play dirty. Check
out the James Brown-inspired groove of "Stand Up" and try to resist
bobbing your head, I dare you. "Sunday on my Own," meanwhile, recalls
the signature ballads of Otis Redding. The mix on the album is pretty
classic soul, too: big band in a room, slightly over-driven drums with
natural reverb on the vocals. Don't be confused by the unconventional
artwork, this album is full of classic sounds and great playing. For
raw, horn-driven soul, you can't go wrong with this album.
-CD Baby Editors
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Austin American Statesman
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It didn’t take Massachusetts native Tim (T Bird) Crane, who sounds like he grew up on the same recor...It didn’t take Massachusetts native Tim (T Bird) Crane, who sounds like he grew up on the same records as did Delbert McClinton, long to hit his groove in this town. On a coast-to-coast train ride in 2006, Crane got off in Austin, then got off on the downtown music scene. He vowed a quick return and true to his word assembled a band of crack locals and New England jammers to tear up clubs as T Bird and the Breaks. Not since the Scabs started packing Antone’s at $20 a head circa 2000 has a new local R&B/ funk band lit a fire under kids whose parents were toddlers when Otis Redding’s plane went down.
But the Scabs have not recorded a record as good as “Learn About It,” which suggests a collaboration of James Hunter and the Dap Kings.
This debut shows massive potential, with songs like the bluesy “Sunday On My Own” and supersonic sax-driven“Stand Up” notches above the usual dancefloor workouts. Led by Crane’s delightfully scruffy voice, the 11-piece Breaks breathe life into old charts, with even the rote funk of “Baby Bottle” getting a fresh spin. One can hear traces of Swamp Dogg in the propulsive standout “Take Time,” while “Esmerelda” has an unmistakable Nawlins feel. Pretty gritty stuff for such a young, fresh band.
Although this album won’t be released nationally until next month, T-Bird and the Breaks are putting it out locally this week, marked by a release party Friday at midnight at the Victory Grill. Didn’t take T. Crane (T Bird, get it?) long to find the best club in town for his chitlin circuit revival.
-Michael Corcoran, Austin American Statesman -
monkeyboxing.com
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T BIRD & THE BREAKS: Learn About It – 2009 – Album review 19 JANUARY 2009 HIGHLIGHTS: Two Tone Cad...T BIRD & THE BREAKS: Learn About It – 2009 – Album review
19 JANUARY 2009
HIGHLIGHTS: Two Tone Cadillac - Esmerelda – Stand Up - Juice – Take Time
SOUNDBITE: “Chunky funk comin’ out of the trunk/ Now spread the news like the stink from a skunk”
A bit like the winning fat man at a pie-eating contest, the worldwide funk and soul scene is splitting at the seams with talent and given the amount of competition, any band wanting to make a name for themselves these days needs to make damn sure they have some sort of a distinctive spin on the genre. Enter T-Bird & The Breaks who work a ‘Wilson Pickett fronting the JBs’ kind of angle. Incidentally while you’re making a name for yourselves it’s not going to harm you to make up a cool name for yourselves either. Since only a fool is really going to argue that ‘T-Bird & The Breaks’ is anything other than a cool name it only remains for this lot to establish a rep and with self-produced debut LP Learn About It they’re going the right way about it.
If they do actually sound something like Wilson Pickett fronting the JBs it’ll be for two reasons. Firstly frontman T-Bird, a.k.a. Tim Crane, whose sandpapered-whiskey vocals provide soulful authenticity and secondly, The Breaks. The Breaks (a.k.a. the rest of the band) comprise roughly half the population of Austin, Texas, hold down some super-heavy grooves, drop some fat – er - breaks and number amongst themselves a bevy of female backing vocalists.
A substantial portion of the LP consists of bluesy funk – no mincing around with Hammond organs for this lot – this shit’ll put hairs on your chest. Opening stomper Two Tone Cadillac, has a guitar riff that recalls the one on the Beastie Boys' Funky Boss, and yet, despite it’s impact, you'll find your affections transferred to second track Esmerelda (the highlight among the album’s many highlights) within three bars of it's kicking off. This blues-funk-groove is giant – it’s got hip-shaking breaks, an insistent bass pulse and cheeky lyrics about some wild chick. Blackberry Brandy, which is next, eschews syncopated rhythms for a more swinging bluesy one and demonstrates Crane’s facility for writing classic lyrics as he belts out lines like, “I know I should be looking for a job/ But it sounds too much like work to me.” Then you’ve got All The Blame - another slow one – exploring that staple blues theme of the man who doesn’t treat his woman right and backs it with tremoloed out guitar strains. Stand Up is a swaggering uptempo funk strut, and Juice opens with an insistent piano, shortly before the arrival of an energetic break and sweet horn riffs. Of the last three tracks Baby Bottle is a wah-wah toting funky bounce, while the other two appeared on the band’s demo EP. Take Time is an uptempo classic – all driving horns and guitar and last track Sunday On My Own is – not unexpectedly – another slow one and finds Crane mourning a lost love and in the process demonstrating his not inconsiderable vocal range.
T-Bird and The Breaks mentally inhabit the twilit world of smoky bars where wearing a sharp suit, alligator shoes and playing to pay for your bourbon is what it’s all about. If you don’t know what that feels like – you might when you’ve heard this. This is a band with lots of love and plenty of soul.
* Listen to/ Buy T-Bird & The Breaks - Learn About It
* T-Bird & The Breaks - Myspace
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The Austin Chronicle
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Even with the ongoing soul revival, no one's mined the blue-eyed variety represented by shouters Eri...Even with the ongoing soul revival, no one's mined the blue-eyed variety represented by shouters Eric Burdon, Mitch Ryder, and Delbert McClinton. With 11 members, Austin's T Bird & the Breaks work that vein to the utmost, from the cry and croon of vocalist Tim Crane (T Bird, get it?) and sultry female vocalists to blaring saxophones and an on-the-one rhythm section. Also surprising is that Learn About It, their debut, is all originals, shot through with funk grooves and gritty atmosphere that would make Wilson Pickett proud. The strutting "Stand Up," shake and stutter of "Juice," and the bluesy, straight out of Muscle Shoals "Blackberry Brandy" are diverse enough to make Learn About It a constantly surprising listen. At only nine tracks, it's over too soon, but James Hunter and Dap-Kings aficionados take note: Here's an Austin band you're going to love. (CD release: Saturday, Jan. 31, Continental Club.)
-JIM CALIGIURI, The Austin Chronicle
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KDHX Blog
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"First there was Black Joe Lewis & the Honeybears and now there’s T-Bird & the Breaks. As young Aust..."First there was Black Joe Lewis & the Honeybears and now there’s T-Bird & the Breaks. As young Austin rhythm & blues bands go, both pack a big, horn-fueled sound, a smacking rock rhythm section and a one-two punch of West Side Chicago blues guitar and gritty Stax-influenced singing. Tim Crane started T-Bird & the Breaks a few years ago and the band has burgeoned to 11 members who (judging from the three tracks they’ve offered up on their web site) have a soulful feel that belies their years. They’re set to release their first album, Learn About It, on January 27." - Mathew A. Koeneker via Bookmarklet
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American Roots
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OK, time for some fun! New kids Tim Crane (T Bird) and his friends are “Breaking” out their debut cd...OK, time for some fun! New kids Tim Crane (T Bird) and his friends are “Breaking” out their debut cd with a big cd release party at the Continental Club in Austin January 31. Man I wish I could go! Actually so does my 7 year old son Andrew. Sitting here listening to Juice off the cd he mumbled to no one in particular, “Man I love this song,” even though he’d never heard it! I take it as one of those “Hey Mikey, Mikey likes it” testimonies. Honestly, if you can’t get into this disc crawl into your pine box and close it from the inside ’cause you, my friend, are dead.
This is a ten piece unit in the days of sound loops and drum machines. This is a full out R&B assault that anyone who can spell “STAX” is sure to enjoy! For you older Texas soul fans, T Bird has been compared favorable to Roy Head. From the energy of opening track Two Tone Cadillac T Bird keeps you hopping, finally slowing down a bit to close things out with a soulful, sax laced ballad, Sunday On My Own. In between these check out funky Esmerelda. T Bird says “Esmerelda, you make me want to burn off all my clothes.” Now that’s funky! I also love Blackberry Brandy and Stand Up. Many of the songs were written by T Bird, who is well backed by the Breaks: Stephanie Hunt- Vocals, Jazz Mills- Vocals, Sasha Ortiz-Vocals, John Allison- Lead Guitar, Sam Patlove- Rhythm Guitar, drums; Cody Furr- Bass Guitar, Damien Llanes- Drums, Matt Price- Trombone, Stephen Beasley- Baritone Sax and Houston Rawl- Sax. This is definitely a disc I’ll listen to many times!
-Don Zelazny
http://www.americanaroots.com/2009/01/25/reviews/music/t-bird-and-the-breaks/ -
Flanfire Blog
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Is there any band in Austin more exciting to watch (and dance to) than T-Bird and the Breaks? If yo...Is there any band in Austin more exciting to watch (and dance to) than T-Bird and the Breaks? If you were among the 300 people crowded into the 250-capacity Victory Grill at the T-Bird and the Breaks CD release party (with the Greyhounds opening!), you will TESTIFY that a better time was not had all year long. For the record, the CD is entitled, “Learn About It.” Your mission — learn about this great band!
Was it really BARELY OVER a year ago that Tim Crane (aka T-Bird) and Sammy Patlove (with guitar, though he sometimes plays drums) migrated south from western Massachusetts (leaving behind their old band, The Wild Dogs) with a vision for a full-on soul band? [Well, other records show they actually arrived in 2006, but we only countr from their first public show -- not the one in Christian Ward's living room!] My first T-Bird show was in January 2008 and it was just their sixth show ever at that time — so it is easy say that the boys have done a LOT in little over a year since getting up and running.
I well recall two excited young native Austin women — Sasha Ortiz (Zoe) and Stephanie Hunt — who could hardly believe they were being interviewed to be the original “Breaks” — a job they share nowadays with West Texas superstar Jazz Mills (and sometimes with the amazing PHOEBE Hunt!). The boys had already recruited bassist Cody Furr (from the Lost Pines family, he of the Tom Cruise good looks) and guitarist John Allison (who later had to choose between T-Bird and Goldcure).
Then there’s the horn section (which has changed over time), led by the lovable (and emerging superstar) Houston “Happy Feet” Rawls (nephew of Casper) on tenor sax and currently with Stephen Beasley on baritone sax and Matt Price on trombone. And when they can get him (which we hope will be much more often in the future), the fabulous Damien Llanes on drums. And, yeah, the band has even employed a keyboard player on occasion — and Marc Lionetti (also from the Lost Pines), Sarah Lincoln (before she left town, her sax graced the group). At various times, Scott Standing, Mike Piccone, and a guy named Connor have played the trumpet (all grace the CD at various places) — and part of the glue holding it all together are Kenny Furr (and his lovely friend Bird, shown here with her equally lovely sister) and Michael Lahrman (shown here holding the SOLD OUT sign with Marla from the Victory).
I gleefully recall that January 2008 show at Antone’s when the dance floor literally lit up with joyful people — and it took me quite a while to realize that MOST of the songs they were doing were originals. “Blackberry Brandy” just had to be an Allman Brothers classic, and “Sunday on My Own” must have come from Detroit — but NO! And these remain my two favorites — along with “Take Time” (but see below!).
And the new record? From the first three licks of “Two Tone Cadillac” (yeah, these guys like cars!), you will want to get up off your duff and get onto a dance floor. PLAY THIS RECORD LOUD!!!!! [Did I mention that the boys themselves produced and engineered the whole record, with help from James Stevens and Matt Oliver)?] Then there’s “Esmerelda,” which has that Wilson Pickett feel. You cannot listen to “Blackberry Brandy” without singing along — and jumpin’ and jivin’.
T-Bird (I think — but see below) wrote all the songs on the debut CD but two — the ballad “All the Blame,” by John Allison, and the thumpin’ “Stand Up,” by Sammy P. [Folks, this is just the debut -- there will surely be more of these great soul songs yet to come! And I am confident that we will hear MORE from the "Breaks" -- all of those women are superstar soloists just waiting to drive crowds wild! Okay - back to "Blame" -- a great song to hold your honey close and dance V-E-R-Y slow.
The only downer here is that the liner notes for "Baby Bottle" [NOT a Jonas Brothers cover!] and “Sunday on My Own” did not make the CD jacket … but who’s keeping score? “Stand Up” opens with great horns and percussion that makes you “feel the beat and the heat on the street” — you can just visualize the break dancers going nuts over this cut. “Juice” is a T-Bird showcase — he even plays the organ on the record. “Take Time” has a driving beat that maybe best of all the songs showcases the dancing skills of the Breaks — that is when you see them live (and you MUST!). The cool thing here is that Marc Lionetti’s drum kick on the record is so awesome (given that Marc is not REALLY a drummer). From the opening horn intro, “Sunday” just sends goosebumps up my spine — you just have to imagine Otis Redding on this song, because it has to have been written in his memory [check out "Pain in My Heart"]. What else can I say? I love these guys!
-Duggan Flanakin
http://www.flanfire.com/2008/12/27/vintage-57-t-bird/ -
Bump & Hustle (Austin Chronicle)
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These Are the Breaks A few weeks ago at Momo’s, Tim Crane stepped on stage wearing a vintage gree...These Are the Breaks
A few weeks ago at Momo’s, Tim Crane stepped on stage wearing a vintage green suit and white alligator skin shoes. It’s the kind of getup that would make most people look goofier than Jeff Daniels in Dumb & Dumber. But the look suited the 25-year-old vocalist and frontman of local nine-piece T-Bird & the Breaks just fine. His slick threads matched the band’s vintage R&B sounds and the shoes flashed as Crane's leg kicks punctuated the band’s horns. Bump & Hustle caught up with the gravel-voiced singer to talk about the band’s music and the albums that helped shape its sound. T-Bird & the Breaks play Friday at Momo’s and Monday evenings through March at Antone’s for happy hour.
Bump & Hustle: You’re a relative newcomer on the Austin scene. What’s your musical background?
Tim Crane: I was in a blues rock band up in Massachusetts for a couple years. We would play in New York and Boston. It was me and Sammy [Patlove], who plays rhythm guitar in the Breaks. We wanted to go in more of a soul and R&B direction but my buddies in the band were more into Aerosmith. I made beats on my computer for a while but my background is more music appreciation. I’d skip high school back in the day to put fliers from the record stores under people’s windshield wipers in exchange for free records.
B&H: Do you think you and the Breaks are bringing something that’s missing to the Austin music scene?
TC: There are a lot of really great funk bands and there are a lot of great keyboard players fronting bands. But in terms of soul music – which is part funk, part blues, part rhythm and blues – having songs with a vocalist and a rhythm section behind it is really powerful. And I think we bring a pretty entertaining show. We’ve got a lot of people on stage all decked out to the nines, looking good, shaking it a little bit and having a good time.
B&H: I was surprised to learn some of your original songs weren’t obscure R&B covers from the late 1960s. What goes into your songwriting?
TC: I’m a student of music – a musicologist. Some people sit in front of the TV, I sit in front of the record player. I've got my record player on one side of the room and my piano on the other so a lot of times I’ll just jam out on the piano to some records. I’d like to get to the point where I could just sit down at the piano or with the guitar and write a song but it doesn’t happen like that for me. I usually write songs in my head while I’m mowing the lawn or stacking lumber or whatever. After that, I figure it out on paper or just talk it out with the band.
B&H: The Breaks seem to have had a rotating cast of horn players. Is the lineup finally settled now?
TC: That’s still going on. A couple of our horn players are from UT and a couple are from another band that plays at Momo’s called Much Love. We had a couple guys from Memphis that played horns with us for a while. We’re still ironing that out a little bit but our rhythm section is set and we’ve got a really tight core right now.
B&H: I know you’re a fan of Stax records and 1960s R&B, but what current artists are you feeling?
TC: Of course I’m digging on Sharon Jones & the Dap-Kings. I went to see them at Antone’s. It’s kind of like a throwback thing, which is kind of what we’re doing, but we’re trying to keep it contemporary at the same time. Their show and their musicianship and their songs are super badass. I listen to Ghostface but a lot of the other rappers I used to like fell off. I dig the Black Keys and there are a lot of older artists like Bettye LaVette and Solomon Burke who are still putting out great albums.
B&H: What do you make of the recent surge in popularity of old-school R&B?
TC: I think it’s great. A lot of it is coming from hip-hop. You have younger people who have been listening to hip-hop and they recognize a horn line from a Biggie or Wu-Tang song. What I’ve always liked about hip-hop is the old soul sounds. I think a lot of it is due to hip-hop, and bigger names like Amy Winehouse put more of a contemporary sound into it. The Dap-Kings played on that album [Back to Black] but Mark Ronson puts a fat bass EQ on it like hip-hop, so for the kiddies out there it’s real pleasing to the ear.
B&H: What are five albums that have influenced your sound?
TC: Otis Redding, The Dock of the Bay: It’s so solid and you’ve got great songs on there like “I Love You More Than Words Can Say” and “Let Me Come On Home.” It’s the album he was working on when he died so it was put out posthumously; James Brown, The Payback: It’s hard picking out albums from old soul and R&B artists because there are so few of them that are hardcore back to back without any filler, but this is one of them. It’s got “Stone to the Bone,” “Mind Power,” and the slow ones like “Forever Suffering”; Eric Burdon & War, Eric Burdon Declares War: Eric Burdon of the Animals gets together with War and it’s a badass album. It’s got “Spill the Wine” and “Tobacco Road,” which is a song we do that really moves. You’ve got Burdon with an all-black funk band – it’s a pretty heavy album; Sly & the Family Stone, There’s a Riot Going On and Fresh: There are some out there chord changes on these. Also, I want to do more tossing verses back and forth with the girls [backup singers Stephanie Hunt and Sasha Ortiz] like Sly does with Rose; Wu-Tang Clan, Enter the Wu-Tang (36 Chambers): I like the rawness of 36 Chambers. You can hear the tape machine starting up from time to time. In our music I like to drop the beat or horns in and out at a certain time, but it’s not a bridge or a big chorus, just for a couple of bars. The stuff like that, which hip-hop focuses on, makes the song more dynamic.
Thomas Fawcett, Tue Feb 5, 2:44pm -
Austin Music & Entertainment Magazine
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T. Bird and the Breaks! (Oct. 2 @ 8:00 @ The Mohawk) This year I covered the ACL Sound and the ...T. Bird and the Breaks! (Oct. 2 @ 8:00 @ The Mohawk)
This year I covered the ACL Sound and the Jury competition. It was an online battle of bands that ultimately brought six very different bands together onstage at Antone's where they competed for audience applause and a spot at this year's ACL festival. In the end, local nineteen year-old garage rockers the Steps took it and played a tight ACL set early Friday morning.
However, this little entry is not about the Steps. The Steps are all very nice guys. They will do very well I'm sure, and I hope that they do. But this little entry here is about second place T. Bird and the Breaks who somehow couldn't get the applause-o-meter's needle where they'dve liked it, but definitely had the crowd where it needed to be, stirring it up in a super soulful soup bowl as live as the Stax museum brought to life at night like the Ben Stiller kids' flick. Never in my own life have I seen such an unassuming group of musicians tear the house down like T. Bird and his white and black clad Breaks: rhythm section, horns, and backup mamas. You hear the raw soul-slashing that is Wilson Pickett and James Brown, Rufus Thomas and Otis Redding come with vigor from the voice-box of a thin, twenty something Boston born whiteboy, and it is real. It is uncontrived. It is true evocation. And if you have any soul yourself, you can't help but be captured by the whole holy ghost shaking show. Thus, everyone, all the other bands and the fans they brought were moving and moving big to T. Bird. And though they didn't get to play ACL, if you check out their show dates on their website or myspace, you'll see that we Austinites are very lucky in that we'll still have many chances to witness this wonder.
Our next opportunity is October 2 at the Mohawk. I'll be there and so should you. And in the words of the Breaks themselves, "T. Bird and The Breaks. Learn about it." - Jesse Hill -
The Austin Chronicle
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T-Bird & The Breaks (Austin, TX) -The backup singers may look too young to vote, but newcomers T-Bir...T-Bird & The Breaks (Austin, TX) -The backup singers may look too young to vote, but newcomers T-Bird & the Breaks are old souls bringing serious R&B heat. The 10-piece indulges the requisite Wilson Pickett and Sly & the Family Stone covers but is at its best pounding out originals by dynamic front man Tim Crane, a slick-haired, gravel-voiced shouter in the mold of blue-eyed Texas soul sensation Roy Head.
T-Bird and the Breaks placed 2nd in the Best New Band Category at the Austin Music Awards during SXSW 2008. The debut album is due out later this summer, and people are starting to talk.
– Thomas Fawcett (Austin Chronicle)
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Album Review: T Bird and the Breaks
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Tags Never Get Out of This Funk Alive, T Bird and The Breaks Summertime- especially in the hea...Tags
Never Get Out of This Funk Alive, T Bird and The Breaks
Summertime- especially in the heat of Austin, TX- seems to inspire an almost unquenchable desire for good tunes and good times. Reminiscent of those eras that produced mastered pieces of working man art and music, chalk-full of sex appeal and urban style and slang, this band’s music keeps it classy and cool. Combine creative musicians- who have an obvious and admirable knowledge of soul and funk music from the greats- with irresistible move-your-body music and invade-your-brain catchy lyrics, and you have T-Bird and The Breaks‘ new album Never Get Out of This Funk Alive. Like a perfectly mixed cocktail, T Bird (Tim Crane) & The Breaks (billed as 19 musicians over various tracks on the album) have stirred together groove, break-beat, funk, soul, hip hop, and garnished it with a modern twist. Lyrical throw backs about tough times in the blue collar job world, the field of “Nasty Love”, and the tricks for surviving the universal everyday grind are vocalized through the soaring and gritty soul of Tim Crane and expertly supported by kickass harmonies from female back-up singers. A full band of bass, guitar, drums, keyboard, trumpet, saxophone, and more shake it up with skilled beats and entrancing grooves that leave you no choice but to move your body. Enough rock and hip hop to balance the “do wop” and hopscotch, tracks like “Rock Your Skull” and “The Apocalypse Will Not Be Televised” are refreshingly paired with “Spread the Love” and “Fuck It Up”. Never Get Out of This Funk Alive drops tomorrow, July 12, and this full length album from a beloved Austin favorite is the quickest way to quench your thirst this summer. -
Album Review
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(5 stars) Proper funk – where you been you hussy? Mainly hiding out round at T Bird’s place seems to...(5 stars) Proper funk – where you been you hussy? Mainly hiding out round at T Bird’s place seems to be the answer on the strength of Never Get Out Of This Funk Alive. This is the second full length album from Texan heavy funk and soul outfit T Bird & The Breaks and giant middle finger to all that jazzy noodling that’s been coming out of the contemporary funk scene. What we’ve been missing are dirty, blues-based soul grooves that reek of sex, combined with big-ass breaks. This delivers all of the above in a breath of stank, whiskey-soaked air.
As with first LP Learn About It from two years ago, the band cast their funk-soul net wide drawing inspiration from the roots of the genre whilst, at times, applying old-school hip-hop production aesthetics. You want fat breaks to sample? Check the swampy fatback rhythms of Spread The Love or the bayou groove of Juju Baby. Rare Earth style rock–tinged, funk psychedelia? Try Paranoia For Ya with dope extra vocals from band guitarist Johnny ‘Too Bad’ Allison. Sixties northern soul? That’ll be The Clap Hands Song, a rework of Shirley Ellis classic The Clapping Song on which T Bird shares lead vocals with backing singer Sasha Ortiz whose performance suggests she might want to consider dropping a track of her own. It might shake a few of her contemporaries out of lazy, generic vocal stylistics. The title track travels a more popping, bumping Ohio Players kind of route – and if you still haven’t copped that one and The Clap Hands Song for free get your skates on HERE.
Could it get any more dope? Er – well – yeah it could actually. Opener I Gets My Boogie On is a mighty laid back, gospel groove for starters – and that’s gospel in the sense of sound only by the way – the lyrics are filthier than Beyonce mud-wrestling with Rihanna. This track is one of the best for showcasing Tim ‘T Bird’ Crane’s effortless, whiskey-soaked soul rasp and facility to turn out a classic true school soul vocal which he does time and time again – “I had me a sweet little peach but things went sour/ She was giving away my sauce in the midnight hour,” for example. Chuck in Put It On The Spot – a hot little slice of chicken-scratch funk guaranteed to put the hurt on the dancefloor and Piano Joint – another gospel-tinged number (and breaks-samplers delight) and you’ve got a stone classic end to an excellent LP.
And they’re still not signed. Christ – how long do I have to rep this lot before they finally get their due? This is the hottest new funk to have come out in a long minute. Massive. Don’t sleep. Oh yeah – don’t forget to cop T Bird’s dope solo LP (T Bird Is Good For You) from January HERE for free too…
(Out 12 July)
Setlist
T-Bird & The Breaks will typically play 1 - 2 sets of original music, sprinkled with chunk and jank.

