REVIEWS

 

 

 

 

Posted - December 16  :  7:44:51 PM  

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Artist(s): The Wrenfields
Album: Seconds
Label: Self Released
Available: Available Now
Rating:
Review by: Doug Floyd

 

The Wrenfields, are a six piece alt.country band out of Dearborn, MI, that formed in 2000. Their music is a blend of styles that cross-pollinates the Jayhawks, early Wilco, and Dolly Varden. Designated the title of Detroit's "favourite alt-country group” this is their second album, the follow up to ‘21st Century Pioneer’ a rousing country debut that won the band many plaudits and considerable critical acclaim. Noreen Novrocki and drummer John Pyro share vocal duties, the remainder of the line up David Berriman, Frank Budd, Tom Morgan and Matt O’Bryan demonstrate considerable talent and together they build songs that are very arresting and instantly accessible. Lots of great hooks, stirring rhythms and a joyous feel is created, which immediately encourages you cue up the album for another listen, and another and another…
The production by Tyler Brown (Original Harmony Ridge Creekdippers) is clean and unfussy, letting the music do the talking and it is a very interesting and lively conversation indeed.

The album smoulders away to start, the songs are solid enough, “I felt Rain” three tracks in holds the country influence deeper into its heart after the country rock of “Every Know and Then” and “We Must say Goodbye” but it is “Carry me Away” that really sets the album alight. A wonderfully soaring country rock track with equal measures of everything that you would want or come to expect from a great song! Starting with a gently strummed resonator guitar, some cool and tender electric piano blends in before the song bursts like a firework into a gorgeously harmonised display of beauty…stunning. “Souvenir Smile” is up there with it as one of the top songs on the album, a powerful half ballad, with a tip in the direction of the Byrds, and Roger McGuinn's twelve string jangle. The guitar solo here is another example of the fine playing of Tom Morgan backed by Matt O’Bryan’s acoustic embellishment.

Novrocki has a really warm and (dare I say it) sexy voice which gives the band depth and variety, especially when she gets to take to lead on tracks like the uplifting “Gonna be Happy”- a real touch of summer for these cold Winter evenings. Pyro can really turn on the rock ‘n’ roll raunch when called for, “Lovesick” for example lets him rattle the vocal chords with a real slice of Stonesy riff 'n' roll to spur him on and “Worthless” supplies more of the same spirited attack.

One track that may garner some attention is the 9/11 song “Patriots Day” which may generate some criticism of jingoism with its obvious ‘up and at ‘em’ attitude:

“The sleepin’ giant wakes again
The sleepin’ giant wakes again
The sleepin’ giant wakes again
They’d better run, they’d better hide”

...Which is maybe not the subtlest reaction recorded post tragedy, but it is a point that echoes the sentiments of many and it is a very powerfully made statement, so I will leave that one up to the individual to decide upon. As a whole though this album is just a simple joy to experience and this one song, which I feel sits rather uncomfortably with the other ten on the album, should not be a deterrent for would-be buyers, just skip forward to something like “Mother Nature Girl” and more of Noreen Novrocki’s soaring vocals and things just fall back into place.

As a musician, if I could get to play in my ideal alt.country band, this is the kind of music I would love to play. There is a just enough twang and some great country edged rock. On the performance front, the guitar playing, rhythm section and vocals are gutsy but thoughtfully put together. The up tempo numbers are effervescent and captivating, full of energy with a solid rock resonance, especially when Pyro sets his vocals free and gives it some! Noreen’s (I feel we’re ready for first name terms, the amount of airplay I have given this) vocals are delightful, adding sparkle to an already luminous production. A thoroughly enjoyable album, warm and inviting, with lots of energy and one well worth tracking down.

Every Now and then
We Must say Goodbye
I felt rain
Carry me away
Patriot’s day (Katie bar the Door)
Gonna be Happy
Lovesick
Worthless
Souvenir Smile
Mother Nature Girl
Never Once Alone

THE WRENFIELDS Seconds... (self released) If country radio was really interested in playing real country music, country music that doesn't bow down to today's fads, it would be playing a Wrenfields song every hour. For their second CD, The Wrenfields improve mightily over their first, and that's not to say their first CD was bad, just a little unfocused and unrealized. You could hear the band was onto something, they just hadn't found a way to fully flesh out what they were going after. On this CD all the parts are in place and everything is just clicking along fine. To my ears, what makes the Wrenfields music so special is their mix of ancient and modern touches. Not only do they excel at bringing old-timey vocal elements and arrangements into their songs, they also succeed at bringing anough of the modern in to make it seem like a perfect hybrid of the two. If I were to make a comparison I would pick the bluegrass style band Nickel Creek. The same way Nickel Creek fuses the old and the new is the same way the Wrenfields do it, though with a more mountain music style touch than bluegrass. The mix of male and female vocals makes a nice blend as well. A little rock attitude is also there, setting off the old-timey elements just fine. Fans of all styles of country should find plenty to like here.

Their web site. Order from CDstreet.com  Reviewed by Scott Homewood

 

Wrenfields go a little bit country on 'Seconds'

Detroit Free Press - Greg Crawford

December 1, 2002

You hear it in the acoustic guitar, tight harmonies and homegrown twang that mark the first few bars of the infectious "Every Now and Then," the track that opens the Wrenfields' new album, "Seconds." The Dearborn-based alt-country band is gently nudging its sound toward traditional country.

"Seconds" is marked by touches of harmonica, mandolin, even dulcimer and banjo, and several tracks make liberal use of the pedal steel. Tyler Brown, noted for his work with alt-country band the Jayhawks and, more recently, Mark Olson and the Creekdippers, produced the album, and tracks like "We Must Say Goodbye" and "Never Once Alone" bring to mind some of Olson's warmer moments.

This is far from an all-country project, however. The classic rock sound that prevailed on much of "21st Century Pioneer," the Wrenfields' 2001 debut, survives on tracks like "Carry Me Away" and "Souvenir Smile," both of which stir fond memories of '70s radio, and the driving "Mother Nature Girl," which harkens back to early '80s new wave.

Most intriguing moment? The 9/11-inspired "Patriot's Day," which contains the America-first line: "Don't you let the world in anymore / Oh, Katie bar the door." Critics and academic types are all but certain to respond to the tune with the usual charges of jingoism and xenophobia. Music fans who've had enough of the thought police this year will likely render a more favorable verdict. By Greg Crawford, Free Press staff writer

The Wrenfields will perform at a CD-release party for "Seconds" at 9 p.m. Friday at Memphis Smoke, 100 S. Main, Royal Oak. 248-543-4300.

 

 

Wrenfields CD Release Party - Names and Faces - Detroit Free Press 11/28/02

 

 

 

November 20, 2002

The Wrenfields – Album – “Seconds” (Wrenfields Records, 2002) Available: Now Described by the Detroit Metro Times as the city’s “favourite alt-country group,” and recent winners of three Detroit Music Awards, the Wrenfields are obviously a love affair in the making for their hometown, and their debut from last year gave some indication of the good things ahead for the band – crisply produced, tightly arranged songs with at least man slaughtering if not killer hooks and just a nod to reverence, it turned a few heads in much the same way Nova Scotia’s Guthries’ debut did around the same time. Still, 18 months later, they’re back with an album, which is at least an equal for its predecessor, albeit one that doesn’t move the Wrenfields sound forward so much as it consolidates it.  It’s good to hear the variety still present from song to song on the record, thanks presumably to the spread of band members’ inclusion in the songwriting process. “Every Now and Then,” the album opener, feels punchy with its layers of twang and honky-tonk piano, and sublime harmony vocals, “We Must Say Goodbye” is basically a perfectly pitched bittersweet pop song with melancholic chord changes and “I Felt Rain” is a wry and really beautifully played piece of pure and focused Americana.  And that’s just the first three tracks – there’s actually on reflection a lot the band share in common with the Guthries, not just because of the band make-up but because of the seemless integration of the variety of musical styles into an album that never feels tacked together – it’s a complete project, and while they may not reach the giddy heights of the best of the Guthries, they still manage to map out a distinctive sound for themselves that will undoubtedly guarantee them more of the positive publicity they richly deserved for the debut.  It’s a shame that they chose to include an ill advised and overly aggressive 9/11 rant, “Patriot’s Day,” which is guaranteed to alienate most liberal UK listeners (“The God that made our country strong will lead our fight…” Toby Keith, eat your heart out), (no actually, please do eat your heart out) as it’s the only serious fly in the ointment of an otherwise not groundbreaking but still accomplished and warm record. MW

   

 

 

 

November 25, 2002

Mitch Phillips 

Mitch finally cuddles up to The Wrenfields' sophomore release entitled, "Seconds" - once he got over his aversion to the "C-word", that is. '...despite my hip discomfort with anything that might inspire line-dancing (ugh), "Seconds" has become a warm and welcome companion to my holiday season, when such sentiments seem perfectly appropriate. ' Read More to find why you should get a heapin' helpin' of "Seconds" for yourself. Don't worry, you can work it off before spring - just like you did last year, right? Band: The Wrenfields CD: "Seconds" Producer: Tyler Brown Recorded at: The Compound, Dearborn, MI. Year: 2002 From Pioneers to Patriots If the Wrenfields' debut "21st Century Pioneer" represented the bold trek of former rockers into the undiscovered alt/country, their follow-up release, "Seconds" (as in another heapin' helpin') shows they're now bonafide settlers on the Americana frontier, unapologetically staking their claim in the heartland which they both praise and defend on this record. Straddling the fence between pop-rock cool and home-cooked country corn, The Wrenfields lean towards the latter on this record without abandoning the vibe they established on their debut. The whimsy of "Gonna Be Happy", the head-bobbin' rhythm of "Lovesick" and the breathless imagery and optimism of "Carried Away" prove the band hasn't lost any of their '21st Century' appeal, but rather have evolved into a more roots-oriented band with tracks like "We Must Say Goodbye", "Patriot's Day" and the lovely closer "Never Once Alone". Guitarist Tom Morgan's evolving pedal-steel work and Keyboardist David Berriman's honky-tonk piano chops go a long way towards setting the tone on this record. But the inclusion of banjo, mountain dulcimer, fiddle and additional acoustic guitars (courtesy of guest musicians David Wolfenberger, Janel DeVries and producer Tyler Brown) show The Wrenfields are quite serious about getting it right. I'll admit that, at first, my rock snobbery was piqued by the knee-slappin', Hee-Haw'n rhythms and southern vocal twangs (now, would that be southern Dearborn Wrens?) on tracks such as the opener "Every Now & Then" (now I understand guitarist Matt O'Bryan's insistence on covering Eddie Rabbit songs) and "I Felt Rain". But despite my hip discomfort with anything that might inspire line-dancing (ugh), "Seconds" has become a warm and welcome companion to my holiday season when such sentiments seem perfectly appropriate. Cooks in The Kitchen Because every member of The Wrenfields had a hand in the writing process this time, there's such a diversity of styles on "Seconds" you never get bored with the music over the course of eleven tracks. The multiple collaborations between band members on this record (nearly all of them with the extremely talented and intuitive lyricist John Pyro ) work surprisingly well and create an eleven-course meal fit for any table this Thanksgiving. Featured Specials: "We Must Say Goodbye" - According to sources within the band, this tasty tune is about a longtime friend of Drummer/Vocalist John Pyro's who recently moved across the country. Pyro is a gifted lyricist and together with guitarist/writer Tom Morgan they've penned some of the best songs to come out of this band. This track stuck so good, I even woke up with it playing in my head one morning. It just gives me the peaceful, easy feeling I need to get through the day without killing anyone. ) "Carry Me Away" - Another Pyro/Morgan gem, "Carry Me Away" is a powerful freeway song with enough inspired imagery to paint a patriotic postcard in your head; the only thing missing here is purple mountain's majesty and amber waves of grain, but alas, it's been done. Probably the best work I've heard from Ohio producer Tyler Brown who also produced the band's debut; more tasty layers than a turkey club. Great work. "Patriot's Day" - Maybe the most surprising and controversial song of the year, "Patriot's Day" was written by bassist Frank Budd (who plays acoustic guitar on this track) and drummer/vocalist John Pyro. If the lyrics are assumed to be biographical in nature, this song could win The Wrenfields some new die-hard country fans while simultaneously alienating others. Formerly titled "Katie, Bar The Door", "Patriot's Day" is post-9/11 anthem that would make Pat Buchanan blush with protectionist's pride, make the NRA lock & load with misty-eyes, and whip the religious white (er, I mean "religious right") into a frenzy of self-righteous indignation. Conservative Republicans and Libertarians might call "Patriot's Day" a masterpiece of national sentiment rivaling Lee Greenwood's "God Bless The U.S.A.". Those who sympathize with Liberals, Democrats or The Green Party, however, might call it an anthem of reactionary, lock-step jingoism for flag-waving simpletons; the musical equivalent of slogan-slinging bumper-stickers praising blind allegiance to U.S.A. Inc. One thing neither camp can argue about is the song's dramatic and powerful effect on it's listeners, me included. Great stuff and a poignant and heartfelt reaction to a national tragedy. Read it for yourself below.   Patriot's Day (Katie Bar the Door) Written by John Pyro and Frank Budd © 2002 The Wrenfields LLC (BMI) An evil of humanity / evil of humanity / an evil of humanity / has scarred this countryside Upon our streets fell ash and soot / as hell and earth collide / this evil among humanity / has scarred my countryside / but I'm a patriot / and proud to be / I wake each day to reveille For the God that made this country strong / will lead our fight / our victory song Liberty / draw back your arms / guard your freedom from this harm Don't you let the world in anymore / oh / Katie bar the door The sleepin' giant wakes again - the sleepin' giant wakes again / the sleepin' giant wakes again / they'd better run they'd better hide Fear the battle hymn of our young and brave / as they put this terror in its grave / the sleepin' giant wakes again / America the great unites / cuz We are patriots / and proud to be / awake each day to reveille For the God that made this country strong / will lead our fight / our victory song / Liberty / draw back your arms / guard your freedom from this harm Don't you let the world in anymore / oh / Katie bar the door The colors of our flag won't bleed / the colors of our flag won't bleed / the colors of our flag won't bleed / so raise old glory high We are patriots / and proud to be / awake each day to reveille For the God that made this country strong / will lead our fight / our victory song Liberty / draw back your arms / guard your freedom from this harm Don't you let the world in anymore / oh / Katie bar the door Our guns drawn / and we will fight / protect our homeland day and night / the colors of our flag won't bleed / so raise old glory high Served on the side "Worthless" - Over the summer, I got a sneek-peek at the words to this song. I was surprised to find John Pyro had such a dark side to him. The lyrics were so harsh, I'm told, that co-lead singer Noreen Novrocki, at first, refused to sing them. Luckily, the music isn't quite so dark but rocks harder than just about any cut on this disc. "Souvenir Smile" - an easy-does-it ode to the velvet Elvis and his tacky Graceland estate in Memphis, Tennessee. This track has such a great turn in the chorus you can't help but sing along full volume. Features another big ending that's becoming the band's trademark. Mystery Dish "Mother Nature's Girl" - Due to personal upheavals over the past year, co-lead singer Noreen Novrocki never quite got yer groove on this record. "Mother Nature's Girl" is wandering and pointless, lacking both reason and direction. But her presence should never be questioned; her soothing voice softens Pyro's sometimes nasally snarl on this record and her beaming presence on stage is irreplaceable. Besides, she penned my all-time favorite Wrenfields song, "21st Century Pioneer". I've rarely been so moved. Confessions & Conclusions I must confess, over that past two years and as many records, I've spent a good deal of time with The Wrenfields, both at their Dearborn studio and elsewhere. So you can dismiss my opinions as glad-handling fluff from someone who's too close to the band, if you wish. My name appears in the "Thank You" credits on the J-card of "Seconds" which should effectively disqualify me from any critique of their music. But if you trust my judgment when it comes to finding musical gems created in Michigan, I'd tell you that there's very few bands that I've come across whose songwriting skill matches that of The Wrenfields. I wouldn't have thought there was room in my life for anything resembling country music. But just like Eminem changed my mind about the appeal of rap, The Wrenfields have changed my mind about putting some twang in my life. Now heck, I think I like it. - Mitch Don't Miss The Wrenfields CD Release Party for "Seconds" at Memphis Smoke on Dec 6th. You can go there directly from our fundraiser at The New Way on Woodward in Ferndale the same night.

   

 

Wrenfields Serve Up Seconds - MichiganBands.com 9/3/02

 

 

Alt-Country Group is a Rising Star - Detroit News 6/28/02

 

 Wrenfields "21st Century Pioneer"

Released August 4, 2001

 

The Wrenfields & "21st Century Pioneer" Reviews:

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The Wrenfields – Album – “21st Century Pioneer” (2001)

The Wrenfields are in an unusual minority of acts these days that wilfully describe themselves as an “original alternative country” group, hailing from Detroit, Michigan “with the intent of stopping at almost nothing to make their mark in the music business.” That statement alone is qualified immediately by the sheer amount of energy that comes through from track one of their new and debut album “21^st Century Pioneer,” and while there’s little of the twenty-first century about the music, it still manages to hit the right spot on several occasions thanks to the production from Tyler Brown (Mark Olson, Victoria Williams) and the combined songwriting of various band members. The lyrics are hardly run of the mill either with both serious and less austere outlooks on life pervading their way through different tracks.  Occasionally the music becomes plodding as with the skippable “Hoochey Coochey,” (strangely the only track with four of the band credited for writing it – maybe it’s more fun to play than to listen to) but it’s more than compensated for by tracks like “Rise Above,” so uplifting it hurts. Moreover, you get the feeling that live the band would really shine outside the constraints of a studio - It’s the kind of music Canadian band the Guthries have been doing for a while now, and while the Guthries have the edge in terms of both style and substance, the Wrenfields aren’t far behind. MW

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Head to happy American heartland

October 14, 2001

SOUND CLIPS

The Wrenfields   "Sweet Mother Alcohol" You need the RealAudio player to hear this clip.

Alt-country is quietly thriving at independent labels and hip clubs in many parts of the country, but it has yet to win big-time exposure and success in Detroit. Out to correct that situation -- and give local folks a homegrown taste of what they've been missing -- are the Wrenfields, formed early last year by members of local band the Miracleberries and ex-Killer Flamingos vocalist Noreen Novrocki. The Dearborn band lists alt-country standard bearers Wilco and the Jayhawks as major influences, and its debut project, "21st Century Pioneer," was produced by Tyler Brown, who recently worked on a CD with ex-Jayhawks front man Mark Olson.

The 13 tunes on "21st Century Pioneer," all written by band members, transport listeners to an infectiously happy American heartland filled with blue skies, innocent romance and outdoor vistas that beg to be painted. Opening track "Wondrous" sets the mood for all that follows: "I choose from the palette a color beautiful as the sun/ It's so wondrous/ Paint a watercolor field of flowers though my blossoms hopelessly run."

Musically, the disc is reminiscent of everything from '60s folk to '90s alternative rock. Novrocki has a nice moment on the vocally tricky "Pretty Nifty," while drummer John Pyro, the band's other lead vocalist, gives his big pipes a workout on the Southern rock-inspired "Sleeping Bear" and "Sweet Mother Alcohol." Best example of today's alt-country sound? The edgy "Patchouli Train" by Novrocki and guitarist Matt O'Bryan.

By Greg Crawford, Free Press staff writer

The Wrenfields will perform at 10 p.m. Nov. 9-10 at the New Place Lounge in Dearborn.

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The Wrenfields' roots run deep and stretch wide across a Southern rock landscape that spans from rowdy Allman Brothers-style guitar noodlings and riffs to folky skips and laid-back country attitude. The relaxed and eerily pretty vocals of Noreen Novrocki are a highlight, as are the warm acoustic elements.—Melissa Giannini

You can tell by the cover art that this band is into living the country life with a abiding respect for mother nature, and many of their songs represent this feeling.  Their music contains elements of country, folk and good old rock and roll.   They're very adept instrumental-wise and the songwriting and vocals are shared by several members of the band.   Although lyrically some of the songs are a little too pretty for my taste, there's a lot of good stuff here.  Sweet Mother Alcohol, Patchouli Train, and Hoochey Coochey were neat.   I particularly enjoyed the opening cut "Wondrous" with it's big, sweeping "Big Country" sound, and I also enjoyed the final number "House Upon The Hill" with it's spooky ghost story ambience.   One cut, "Sheryl" was interesting because it seemed like a very personal song written specifically about someone songwriter Noreen Novrocki encountered at one time.   All and all, 21st Century Pioneer is a pretty decent record and I expect good things in the future from this band.

The Wrenfields - 21st Century Pioneer The Wrenfields 2001

L'onestà non manca di certo ai Wrenfields: in un periodo in cui i grandi nomi emersi dalla scena alternative-country dei primi anni novanta cercano di allargare i loro obiettivi musicali, tanto che ormai si parla sempre più di Americana sound, a sottolineare questa sorta di sublimazione di tutte le radici del rock'n'roll statunitense, questi sei ragazzi di Detroit provano a riappropiarsi del vecchio termine, proponendosi con un gradevole intreccio di roots-rock di maniera e cadenze sudiste. Citano apertamente tra le loro principali fonti d'ispirazione alcuni paladini della scena quali Jayhawks, Wilco e Lucinda Williams, anche se queste iperboli di presentazioni vanno sempre prese con le dovute cautele. Invece di impantanarsi in improbabili e perdenti raffronti, andrebbe sottolineata la maturità del sound (merito anche della produzione di Tyler Brown, già al lavoro con Mark Olson e Victoria Williams) di 21st Century Pioneer, nonchè la bontà delle esecuzioni. Sull'originalità si apre un capitolo a parte, perchè non sempre i Wrenfields tengono alta la tensione: al canto si dividono i compiti John Pyro e la voce femminile di Noreen Novrocki, che portano la band in territori differenti. Più tensione e convinzione nel primo caso, con spiccate influenze sounthern in Wondrous e Sweet mother alcohol e qualche positiva vibrazione rock'n'roll (ottima Rise above); tonalità soffici e country-rock dall'impostazione molto anni settanta nel secondo caso (la stessa title-track). Il gruppo segue con impegno, ma anche con eccessiva moderazione (esclusa una torrida Hoochey coochey): ci sono le qualità tecniche, ma manca quel tanto di passionale coinvolgimento che li potrebbe distinguere dalla massa. www.wrenfields.com

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Top Stories

The Wrenfields 

By KRISTEN JORDAN, Of The Oakland Press - November 18, 2001

©The Oakland Press 2001

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I didn’t need any other excuse to see this band on a “work night.” after hearing ... “21st Century Pioneer.” This heavy-hearted ballad... is by far the Best Song I’ve Heard This Year. I couldn’t miss this show, even though I knew it meant a bleary-eyed morning at work the next day.  

The Wrenfields at Memphis Smoke

Royal Oak, Mi.

Wednesday, March 28 2001

review by Mitch Phillips

The Invitation

A month and a half prior to my mid-week arrival I received an invitation from Noreen Novrocki, asking if I’d come see her alt/country/roots sextet, The Wrenfields. I received a three-song EP in the mail with the usual promotional materials and a nice e-mail complimenting my past work. (Sly move - always appeal to the writer’s ego when trying to get press.) She even offered to pay for my drinks. (Very sly move - especially if you know the writer has a predilection for liquor but only a budget for beer.) I’d already agreed to cover the show, even if I couldn’t admit to the reasons. But then I played the EP.

Then I played it again.

And again.

In fact, I played it so much I destroyed the disk. It won’t even cue-up anymore. I’m going to miss it terribly until the full-length CD comes out sometime this summer (so if you’re reading this Noreen, I really need an advanced copy of the full-length CD- or two at the rate I’m going through them).

I didn’t need any other excuse to see this band on a “work night.” after hearing track two, “21st Century Pioneer.” This heavy-hearted ballad that illustrates the singer’s reminiscent self-realizations is by far the Best Song I’ve Heard This Year. All three songs are different, well written, well performed and flawlessly self-produced. I couldn’t miss this show, even though I knew it meant a bleary-eyed morning at work the next day.


 

Hell Week

Now, workin’ folk are convinced that if you go to a bar on a Wednesday night one of three things are true: 1. You’re under 25, in which case you’re still indestructible after ten shots of Cuervo, one bad sexual experience and two hours of sleep; 2. You’re supposed to be “working late,” not trying to impress that little piece from the office with your hip selection of restaurants; Or 3. You’ve got a serious drinking problem and you should be sipping bad coffee and chain smoking at the local chapter of “Friends of Bill W.” Nobody thinks to ask if you’re a musician or journalist because nobody in the 9 to 5 world to thinks you exist between those hours.

But Memphis Smoke has built-in culpable deniability for the avid club hound with a real job; it happens to be a first-rate restaurant with live music. Nobody will shame you for going to a great restaurant, provided you arrive early enough. So I shouldn’t have been too surprised to find the place packed with a standing-room only crowd at 8:30 on a Wednesday night. This is Royal Oak after all.

Considering the week I had, I shouldn’t have been there at all; My daughter came down with the flu on Monday; I had a job interview on Tuesday; My current job had me stressed-out; I got in nasty e-mail battle with one of the writers and my wife had been off work sick for three days and still didn’t feel any better. I was having a hard time generating any enthusiasm for this show and I wondered if my mood would color the review unfavorably. But I not only felt obligated to see this show, I felt compelled. So here I was, with my screwed-up priorities and all, kissing the ice in my second drink.

Painted Smiles and Crocodiles

When you’re a working musician who meets thousands of people every year, each wanting a piece of you for one reason or another and most of whom are shit-faced, it can be hard to twist a sincere smile on your face when you’re approached by a fan. I remember having that problem when I played-out and now I was getting the good-mannered smiley treatment right back from Wrenfields keyboardist, David Berriman. As I introduced myself I got the, ‘Who are you? And what the fuck do you want?’ feeling as he brushed me off to prepare for the show.

It was my own fault. I couldn’t keep from gushing over “21st Century Pioneer” and he didn’t have much time before he went on. And what did I expect really? Gee Mr. Phillips we’re so glad you could make it. We really couldn't go on without the support of fans like you and MichiganArtists.com. Can I make you dinner, get you a cool drink, how ‘bout a date? Now sit the fuck down and let me prepare already. I really have to stop testifying to bands when I’m impressed with their music.

I sat the fuck down, managing to get the last and worst seat in the house. I was ok with that. Par for the week really.

  The Set

Some cat in a flaming red sports coat and sunglasses who called himself “The B Man” introduced the band and directed the crowds attention to a table behind me where, for the simple act of joining their mailing list, you could get your very own raffle ticket that might win you a 1963 Custom Fleetwood Limousine. The sleek, silver limo from another era, which was parked just outside the window on Main Street where it could draw the most attention, bear The Wrenfields name on the back quarter panels and long blue flames along both sides. Matt O’Bryan, rhythm guitarist for the Wrenfields and boyfriend to Novrocki, is a recent leukemia survivor and the band, to honor their good fortune, are planning to donate the proceeds from the raffle to The Hairy Cell Leukemia Research Foundation sometime at the end of this summer.

Appropriately, the band opened with “Rise Above,” an optimistic song about overcoming life’s obstacles that opens their self-titled EP. I got a jolt of pleasant familiarity from this song as Drummer John Pyro (who co-wrote the song with guitarist Tom Morgan) sang lead. I was a bit disappointed the slide guitar was missing from the live version because it really lends it a rootsy edge. But I still enjoyed it if for its great hook and weighty significance. Rise Above, like the other two songs on the EP, is a viable single that I hope someday emerges from the commercial muck.

I ducked down in front of the band to snap some pictures with my old Konica, despite the lens-envy I suffered; some guy with a wide angle, telescoping monster of a camera with what looked like aircraft lights mounted on top of if blocked his shots from the comfort of his front-row seat while I ducked and dodged on the dance floor, nearly having to stick my little 50mm lens in Novrocki’s face to get one off. I prayed there would be something usable on the roll.

By the third cut people started paying attention; they turned away from their own conversations and started to watch the stage with interest. The band nailed a cover of Sheryl Crow’s “Run Baby Run” and I think people began to understand. The Wrenfields weren’t so much about alt/country music as they are about the kind of music you’d like to hear while being driven in your ‘63 Custom Limo on a two-lane highway while watching the country pass by your tinted windows (a fantasy I’d like to fulfill while listening to this band). There was no southern twang in the music to commiserate with you while you cried in your beer, but a down-to-earth understanding and appreciation for the finer points of contemporary American music shared between the band members and the audience via song. The Wrenfields are a Wednesday Night Music Club, if you will.

Sins of the Trade

Though some of The Wrenfields covers were delightfully obscure (e.g. Bob Dylan’s “Mississippi” and, “Wichita” by The Jayhawks - a band some feel is the most underrated act ever), there were a couple of holdovers from their days as club bands (The Miracleberries, Killer Flamingos) that weren’t flattering to their newly emerging image as contenders in the Big Game.

Now, any Beatles song is better than no Beatles song to me, but their version of, “I’ve got a feeling” was too tepid and suburban for my taste, borrowing none of the gut-wrenching angst McCartney unleashed in the original. I understand a band must make a cover their own, but I have rules about this. Either you match the quality and passion of the original or you change the song in such a way (i.e. tempo, time signature or key) that, somehow, it seems better than you remember it. It would be pretty tough to improve on a Beatles song, so I wanted to see Novrocki let loose on this cut like the original, tearing the mike from the stand, screaming in emotional agony, then finally collapsing at the end of the phrase.

But had she matched McCartney’s passion - she would have been decidedly out of character for this band - or at least for the overall vibe of their set. I’d have rather heard them do The Beatles “Two of Us” or perhaps McCartney’s “Back Seat of My Car” off his now obscure RAM album because they’ve both got that country-cruising ambiance The Wrenfields are so good at putting across. But again, any Beatles song is better than. . .

A goofy cover of Eddie Rabbit’s “Drivin’ my life away” - it may have had the yuppies gleaming while they clapped in time with this dinner-crowd pleaser, but it elicited a deep groan from this writer. I just have a real hard time being this giddy - ever.

Grand Funk’s “Bad time for being in love, ” a staple right out of the bowling-alley bar, might as well have been Tommy Two-Tones’’ “Jenny Jenny” (‘867-5309’) for how misplaced this tune seemed to be in their set. The band rushed through this number, ending it mercifully fast.

Novrocki, with her sweet and refreshingly modest stage presence, made the mistake of apologizing to the audience for playing their originals. That modest temptation is better ignored when making the transition from competent cover band to serious artists. Sometimes it’s hard to believe that people want to hear what you’ve created, but you can’t afford to show any self-doubt when confronting an audience with your art. I believe The Wrenfields have greatness in them whether they are yet aware of it or not. That greatness was about to reveal itself again.

All Sins Forgiven

When Novrocki sang “The grass is pretty green from this angle,” a shiver of recognition shot up my spinal cord, causing the muscles in my face to stretch my lips into an uncontrollable smile and the hairs on the back of my neck stand on end. I crouched in front of the stage with my camera, poised to shoot, but decided I didn’t want to miss a second of this song through the viewfinder. I wanted the full, chilling effect.

The Wrenfields live performance of “21st Century Pioneer” (co-written by Novrocki and Guitarist Tom Morgan) made the Wednesday night drunk and Thursday work hangover so worth the trip I forgave them any sins they committed in the act of appeasing restaurant patrons. The sincerity of this truly great song was evident in the sudden passion displayed by each band member as they brought the song to its climactic conclusion.

I really can’t say enough about “21st Century Pioneer” because it’s so rare a gem like this comes along. I can only try to convince you to seek it out yourself, find a long stretch of highway to remind you again of your life’s possibilities, then push play and lose yourself in it’s sweet sentiment.

I snapped out of my musical daydream when The Wrenfields popped off “Patchouli Train,” the frolicsome third cut off their debut EP (co-written by rhythm guitarist Matt O’Bryan and Novrocki). Ever since I’d first heard this song I wondered what the hell a Patchouli Train was. So, like any good writing geek, I consulted my trusty Webster’s and found: patch/ou-li (pe choo lee)1. An East Indian mint that yields a heavy, dark-brown, fragrant oil. 2. A perfume made from this oil. But sometimes writing geeks should forgo their usual sources and just consult their local hippies. It seems a patchouli train is a car you pass that emanates the familiar odor of marijuana. When Noreen Novrocki let me in on this little fact I blushed for my naiveté.

Measuring Success

By all accounts, The Wrenfields performance at Memphis Smoke was a success: A success for the band because they landed a revolving five-week gig at Memphis Smoke and were selected as this year’s band for the Grosse Isle Yacht Club opening: A success for the bar because they filled an empty slot in their calendar with a capable band; and a success for me and the rest of the patrons because we witnessed the live performance of some great songs - The Wrenfields originals. I hope, for all our sake, that The Wrenfields move quickly from light dinner entertainment to headlining hit-makers because I think they have it in them.

But the real success of the evening wasn’t the profit, or potential profit either the band or bar might enjoy in the future. The real success was that The Wrenfields touched at least one person in this room in a very personal way with one of their songs - and that one person was fortunate enough to share his gratitude with the creators. This is true success in the creation of original music.



Mitch Phillips

Reprinted from MichiganBands.com with Permission.