The band formerly known as the Burnt Taters rolls a strike on its third release, the vibrant "Recess." The foot-stomping trio of Craig Evans (vocals-bass), Brad Tucker (vocals-guitar) and veteran drummer Stu Grimes (who joined last year) soar through a catalog of Americana and '60s-era pop influences that color their own material brightly and tightly.
"On Our Own" evokes The Hollies with its rollicking piano and dual vocal tracks, while the Jonathan Edwards '70s classic, "Sunshine," finds a new way to define the word. Cast as a galloping country rocker, the song chugs effortlessly under the command of Evans' Roy Orbison-like vocals and Tucker's jangly guitar.

Even though the guys approach their work with a notable wink and a smile (check out the smirk-worthy instructions on the back CD liner), the lovely mandolin work on "Never Really Meant to Be" coats the song with an air of melancholy, even when the swooning doo-wop harmonies kick in. Consider this one a real find.

Drawing from the well of rootsy Americana pop epitomized by the light twang of Bakersfield-style country (Buck Owens, Dwight Yoakam) and the ambitious arrangements and heavenly tenor of Roy Orbison era Nashville, the Taters' latest release shines in many ways. Craig Evans' lead vocals, stellar throughout, are even worthy of comparison with Orbison or Raul Malo of the Mavericks on some cuts, especially on "Never Really Meant To Be," and that's rare territory indeed. The production is slick and shimmering, with instruments nicely separated and ensemble vocals captured well. String arrangements are smoothly incorporated and ably delivered, and soloing doesn't miss a beat - whether it's from a diesel-fueled lead guitar or the gentle wide-open feeling of a pedal-steel guitar.
The rhythmically impeccable Stu Grimes provides a host of percussion accents that delight in both taste and economy - never too much, always just right. The variety of background vocals even extend to blue-eyed soul style "doo wops" and "sha la las," which busts the Taters out of purely Nashville turf, bringing to mind a Coney Island or Jersey Shore boardwalk. Attentive ears will even pick up hints of Buddy Holly, the Beatles and Motown. A cover of Jonathan Edwards' "Sunshine" starts out fairly ordinarily, but percolates into a chugging version, complete with a controlled but burning guitar solo. Standout tracks are the complex bolero of "The Kiss" and a "Save the Last Dance For Me"-styled album closer "Raphael."

Overall, this is a strong and accomplished effort. The only weakness is that there may be a bit too much polish in the production. I could have stood for more roughness and edge on some cuts. On the other hand, it's hard to fault an album for sounding too good.

One of modern music's true indie delights follows its fine 1999 debut with this impressive new set. With the perfect balance of sparseness and tasty embellishment, the 11 strong, irresistibly catchy, often endearing originals and two well-chosen covers (an ultra-hip, swinging take on the Mills Brothers' "Across The Alley From The Alamo" and a dead-on reading of the 1952 country and pop standard "Slowpoke") deliver fully on the promise of their predecessor. Now toss in the threesome's terrific instrumental and vocal interplay, and "Strange But True" is an absolute winner. Two years ago, Burnt Taters, with its imaginative, modern take on roots rock and traditional country, was clearly a band that was going somewhere significant. In the summer of 2000, it has arrived. Burnt Taters is seasoned, ripe, and ready for the plucking, and labels, as well as modern rock, NPR, and hip AC radio, would all do well to lend a serious ear.

The latest release by roots-oriented pop-rock trio Burnt Taters wouldn't have sounded out of place on the radio in 1965. Think 'Beatles For Sale' if Marty Robbins were a primary influence instead of Carl Perkins.

One of the endearing things about this Richmond, Virginia band is that they not only wear their influences on their sleeves, they fashion an entire wardrobe from them. In addition to Robbins and the Beatles, the Taters reference Buddy Holly, the Everly Brothers and Hank Williams in their songs. But they owe perhaps their greatest musical debt to Roy Orbison. Craig Evans' crystalline tenor deserves to be mentioned alongside Raul Malo and Chris Issak as a worthy heir to Orbison's legacy.

Besides singing lead and being the group's primary songwriter, Evans provides melodic, McCartneyesque basslines. Guitarist Brad Tucker, whose playing recalls the tasteful, swinging work of Scotty Moore and James Burton, also contributes vocals.