The Beat Goes On
NEW YORK—Hey darlin’—how’s about a cozy I’il Drive-In studio— say, Mitch Easter’s, in WinstonSalem, N.C.? Hell, yeah! Let’s record one of them “Hoboken” bands (kin of The Bongos & The dB’s) by the name of Beat Rodeo. Sell the masters to German Zensor Records for foreign release in July ’84 (Staying Out Late With Beat Rodeo), then wait for a domestic deal and sign with I.R.S. in January of ’85.
The Beat Goes On
COWBOYS AUS NEW YORK?
NEW YORK—Hey darlin’—how’s about a cozy I’il Drive-In studio— say, Mitch Easter’s, in WinstonSalem, N.C.? Hell, yeah! Let’s record one of them “Hoboken” bands (kin of The Bongos & The dB’s) by the name of Beat Rodeo. Sell the masters to German Zensor Records for foreign release in July ’84 (Staying Out Late With Beat Rodeo), then wait for a domestic deal and sign with I.R.S. in January of ’85.
There ya go—N.Y.C.-based Beat Rodeo’s thus far success in a nutshell, not to omit mention of goodly portions o’ the onstage “cutes” and catchy songwriting talent of leader Steve Almaas.
Much in the Country-Punk/ Rockin’ Billy bootsteps of Rank And File, the Violent Femmes, or even the Long Ryders, Beat (formerly Beatnik) Rodeo plays original material on record. Onstage, they cotton to covering songs by any bunch of ol’ guys (i.e. the Byrds) or any good ol’ boy (George Jones for one, Woody Guthrie for another).