Amy Rigby has made a life out of writing and singing about life. With bands Last Roundup and the Shams in eighties NYC East Village to her solo debut Diary Of A Mod Housewife out of nineties Williamsburg; through a songwriting career in 2000s Nashville and during the past decade with duo partner Wreckless Eric, she’s released records on visionary independent labels Rounder, Matador, Signature Sounds and reborn Stiff Records as well as her and Eric’s own Southern Domestic Recordings. For the last twenty years she has toured the US, Canada, UK and Europe, appearing on Fresh Air with Terry Gross, Late Night with Conan O’Brien, World Cafe, Whad’Ya Know, All Things Considered, BBC Radio 6 Music’s Marc Riley Show and Mountain Stage. She lives with Wreckless Eric in the Hudson Valley. Her record “Dancing With Joey Ramone” is a staple of Little Steven’s Underground Garage radio show, and kitchen sink anthem “Are We Ever Gonna Have Sex Again?” is played in cafes and bars around the country by real life mod housewives and husbands.
“Like Ray Davies, a counterpart from an earlier era, Rigby is populist to the core, and even funnier than he is. Where Davies falls back on British vaudeville, Rigby draws on both Americana and classic powerpop, among other styles.” – NY Music Daily
“She is smarter, sharper, and maybe even more melodic than she was way back when, when mod housewives kept diaries and danced with Joey Ramone.” — Dave Thompson, Goldmine
“Her whimsical, often autobiographical songs are masterful. Funny and enticing, she is up there with the likes of Paul Simon and Randy Newman.” — New York Times
“Rigby combines formidable aural craftsmanship with blunt, self-deprecating honesty.” — Village Voice
There is both a sense of the odd and the out there and a sense of the intensely familiar that permeates the music made by San Francisco’s Tino Drima, which may be one reason it has registered so deeply with their audience. One reason for the familiarity may be that Tino Drima consists of the cream of a group of young, adventurous San Francisco musicians who have already been the subject of critical raves—including O (formerly the Black Cobra Vipers), French Cassettes and Spooky Mansion. Another may be that their music simultaneously—and oddly—recalls music of eras gone by and eras still to come, blending the deep, dark blue romanticism of early rock titans Elvis and Roy Orbison with the oddly driving krautrock rhythms of primal Can, adding a final a dash of artfully arranged horns, strings and manic bellow that makes it all unqualifiably unique.