Let The Cat Out

Let the Cat Out Review - TheDwarf
w/ Trumps
Friday, September 12 2008 @ Republic Bar and Cafe, North Hobart
by robbie g
Release the felines! It's Let the Cat Out! This new funk/roots outfit has been heating Hobart venues to an ever-widening fan base. On a September's eve they attracted hipsters, hippies and myself to the Republic Bar for a night of great music. But before discussing the performance let us consider who or what this Cat is and ask the question: from where has it been let out?
Let the Cat Out is comprised of the following members. Firstly, the soul: Hammond organist Randal Muir. This man is a Hobart keyboard institution and can be found any night of the week on the Hammond, piano or accordion at Lisbon, Rectango courtyard or Queens Head playing jazz, gypsy, gospel or funk. I first caught his effortless manner and infectious grin at Temple Place many moons ago playing with the following cat: saxophonist Alistair Dobson. He is musically as versatile as Muir and his sheet of sound solos frequently hint at a Coltrane discipleship. The omnipresent Henry Nichols plays timekeeper and brings the swing and the splash, all driven by his maniacal focused stare. Guitarist Gillan Gregory, an Unleash the Nugget alumnus, has unbridled energy and enthusiasm. He plays as if possessed, as if Medusa's snakes are freeing themselves through his skull. The fifth and final member is Jane McArthur, singer and sometime percussionist. Like Dobson, she is also understated and has a good-natured stage presence, singing with sultry tones. Though all these members have been prevalent on the Hobart scene for some time, apart from Gregory it seems that this is one of the first "band" projects that could appeal to a broader cross section of listeners? Why? Because insteaad of jamming on instrumentals or covers, which may not always appeal, this outfit write their own songs. The Cat in question is skilfully played soul, funk and roots music that long has been a mainstay of the Hobart jazz/jam scene. Now it is coming packaged for wider and much deserved appreciation.
At the risk of sounding like a press release let us wind back our aural clocks to that fateful Spring night and discuss the two sets that this band played to a crowd who was ready to dance, warmed up by other local outfit Trumps. First time attendees to a LTCO gig may well wonder where the groovy bass lines are coming from. Like another cat, Jimmy Smith, Muir lays down the bottom end using his deft feet upon the Hammond's pedals.
The first song, modelled on Booker T's Green Onions, sets the scene. Like the MGs, LTCO have a rock solid rhythm section. As MacArthur's voice and lyrics sometimes get lost through the groove, the melody does not always feature as strongly as it should but instead comes across as laid-back scat. The band skilfully jumps between classic soul to more modern roots and reggae head boppers. The first set concludes with my highlight of the night and a sure sign to the band's direction. A recently written laid-back number, None the Wiser, was one song that did feature a strong vocal line culminating with a perfect organ solo. This is a timeless soul tune, the genre so named because it should lift its namesake. This song did.
Second set started off with a breakneck funk/soul-jazz instrumental, revealing another of the band's influences - Soulive. If the room wasn't hotter enough before this, it was now truly up to temperature. Though a few slower numbers were sprinkled into this set, LTCO kept it live through blistering solos from Dobson and Gregory, both well aware of how to work the crowd into a frenzy with slowly climatic and soulfully executed improvisations. Gregory enjoys playing the crowd not just with his instrument but also vocally, interacting with cheeky call and responses and frequently extolling the virtues of his fellow musicians. With nods to Madness, solid grooves like Truth Pie and Freight Train, a cracking drum solo and some more super funk, the cats finished with a song that appears to be their signature tune: Who's That Man. Some people were singing along. This is even before the LTCO album has been released. Signs of a growing fan base.
Though the musicianship is strong, Let The Cat Out will gel more and more. If songs like None the Wiser are a demonstration of their abilities, not just of their playing but of their writing, then it is well worth the time and space to witness this bag of soul spilling out their funky kittens many more times.
- The Naked Dwarf

"We chose Let The Cat Out as an Edge Radio Recommended band recently - it was an easy decision as they're one of Hobart's most exciting up-and-coming bands at the moment. Their vibrant and energetic live show is not one to be missed either; the line-up includes some of the state's most talented young musicians who are dedicated to bringing the funk."
Edge Music Radio Station

“We often have requests from customers to have Let The Cat Out play again and the professionalism the band has is outstanding. I look foward to having you back at the Republic”
Tony Heath, Publican of Republic Bar, North Hobart

"Let the Cat are one of the most talented and engaging new original acts to come out of Tasmania for a long time. It was a pleasure to have them feature on our stage at Royal Garden Sounds and demonstrate the great wealth and depth of talent on offer in our State today."
Clint Pease, OPCON Consulting, (Royal Garden Sounds with Kasey Chambers and Pete Murray)
- Various

Let the Cat Out - Get It Like That

by Bonneth | Wednesday, April 29

After being received with enthusiasm by audiences at many a successful gig, up and coming Australian Band and self proclaimed Funk/Roots outfit Let the Cat Out have just released their Debut Album Get It Like That which yours truly has tuned into. I will thus deliver my opinion on whether or not the cat should in fact have ever been let out, and if so, how far will it run? Opening with one of my favourites of the album, Lee Roy exploresthe dangers of drinking when you’re down, and our susceptibility to vice and outside influence.
The “Bad Bad Leroy Brown” character has been plucked from the chart topping song of the same title written by Freddy Mercury for Joe Croce in the 1970s. The song was about a dangerous gangster in Chicago who was beaten to death by a man whom he hit on in a bar. This leaves no ambiguity regarding the character of this Lee Roy whom the song describes. With a whimsical tune, funky instruments and a strong bass line, this jazzy number tells a story that many... well, I at least, can relate to. Beautiful Thing is the music equivalent of a pep talk, with a strong reggae-esque shade to it. The upbeat fun sound of the jazzy instruments suit the lyrics which are working basically as words of encouragement for someone who’s down on their luck. A simple little ditty, with a small saxophone and drums duet about one minute thirty into it; this is a simple and clever way one can appreciate the familiar and endearing instrumentation and funky style of their tracks. Fantasy Town is slower paced and simple, about someone remembering a lost lover. Also dips into a folky/reggae style, which slowly builds in energy with its gradual inclusion of all the instruments one by one. Not quite as catchy and memorable, but it’s nice to have a more downbeat melody occasionally lest the funk grow monotonous. Truth Pie is quite a profound and interesting track, both musically and lyrically, with an intriguing title to boot. (Anything regarding pie, or indeed pastries of any description, is sure to gain my attention).
The opening melody is chilling, suiting the context of the song detailing how life is full of uncertainty. Then the instruments kick in, giving it a safer feeling, which I’m not certain benefits the songs colour, but the use of any other style may have strayed too far from their general jazzy style. The slow pace is better this time around however, than with Fantasy Town, with a catchier tune and better story telling. Started Something, with slightly dainty and relatable lyrics, though the track has maintained a good use of instrumentation, it is at around this stage of the album that the trademark tune has been cemented, and the track falls into borderline cafe music enjoyed merely as background noise. Taking a step back on track, with Bav Tav; this track is sassy and engaging and can be likened to Lee Roy but with a slower tempo. The instrumentals throughout encourage a sway and the crooning vocals give it that extra sexiness that helps it to stand out whilst still maintaining the bands traditional styling. Indeed, the track shows that the cat is not only out, but it has claws.
Freight Train describes - believe it or not - a freight train! Namely as a metaphor for a faux solution to ones woes. The song itself is clever, but less so than others. It’s almost bitter undertone doesn’t come across in the rhythm, but the smoothness of it in particular leads the song in an agreeable sliding momentum. It may have benefited with a more sassy vibe and the slow pace hindered my ability to remain engaged. Doop is too similar to the other slow tempo affirmation like tracks, served well as cafe music, likened to Started Something. The song’s message is too repetitive throughout the album, which may be good for incorporating a message to the CD - if that is indeed what they are attempting to do - but otherwise it is generally a lacklustre track whose prominence can be attributed mostly to its rather strange title. The Cowboy gathers some attention from the beginning. The opening chords make it obvious that this is the introduction to a story, making use of the element of suspense. Here they have returned to tamper with the funky reggae style that was in the earlier tracks. Far more engaging and the music better compliments the context of the song, which is both lyrically enticing and vocally expressive.
Who’s That Man is most likely the signature track, most inspires one to sing along and indeed even to move ones stuff on the dance floor. Something that breaks past the shackles of cafe music and proves that Let The Cat Out is capable of concert echelon flair. I am left wondering one thing – who IS that man? Touché, Let The Cat Out, you’ve got me curious. All in all, the CD is good, with songs that are all enjoyable in their own right; however some more than others struggle to make as great an impact. This is usually the case for all albums, and is to be expected for any Debut Album such as this. I feel that should they stray a little from the safer trademark sound they have developed their versatility would flourish and render their future albums more stirring and engaging. I would say Get it Like That is a job well done and it’s no surprise that LTCO is rumoured to already have a growing fan base.
They’re a funk/roots project looking for recognition with their groovy musicality and electric potential, and I have little doubt that they can, indeed, “get it like that”. I hope, for their sake, that the cat may be recaptured so that it may be let out again for a second album. Down Kitty!


- A Fine Line - The Naked Dwarf