Bluebird presently is:
Bryan Lee Brown - Drums/Percussion/Vocals
Jim Brown - Bass/Trumpet/Vocals
Sam James Velde-Voices/Drums
Paul Figueroa-Guitars

BLUEBIRD

BIO:
The bird is a symbol of freedom. From "Black Bird" to "Free Bird," winged things have always been associated with autonomy and escape, and the appropriately named Los Angeles power-psych-punk band, Bluebird is an embodiment of artistic freedom.

Bluebird's music and aesthetics aren't easy to define or explain. In the way that Black Sabbath or even Queens of the Stone Age deftly blend heavy guitar riffing with shimmering vocal melodies, Bluebird makes catchy pop songs driven by heavy layers of guitars, that could also just as easily be outtakes from Swervedriver or Jane's Addiction. And, like Perry Farrell's former freak-flag-fliers, Bluebird is comprised of such divergent personalities that any song - from its most traditionally structured rock tune, to its freeform droning jams - seems to be tugging in a variety of directions all at once. This friction often results in some of the most psych-damaged ingenuity this side of the earliest Meat Puppets mutant punk-country. The charismatic and downright loveable characters in the band bring the passion and intensity to Bluebird's music, and its talented musicians prove that anything is possible with the proper alchemy of magic, will and intuition.

Atbluebird first listen to Hot Blood, Bluebird's follow-up to its Y2K album, The Two (Dim Mak/Pacifico), the band's riff-rock may sound similar to Wool, QOTSA or even early Foo Fighters. However, the guitar textures and tasteful "jams" are far more reminiscent of 60's psychedelia, 70's warped skronk, and the MC5's throttled power-riff breakdowns (in fact, former MC5 guitar god, Wayne Kramer makes a guest appearance on the track, "Beautiful Believer"). Bluebird redefine the freejazz-in-rock thing by throwing the noodling out the window and actually having a capacity for working off of one another to build effective riffs and crescendos which bear some similarities to Drive Like Jehu's patchwork guitar strata. Perhaps the band's guiding force is the innate connections between brothers, Jim and Bryan Lee Brown (bass and drums, respectively) who have played together since elementary school days. But, the melodic hooks of vocalist Sam Velde and the thick guitar layers paved by Barry Thomas and recent recruit, Paul Fig (ex-Amen) add further glue to this bond. Composed of five musicians who each contribute a vital energy to every detail of their music, Bluebird's masterful balance of pop sensibility and sonic battery is compulsory listening.

Bluebird's live stage presence is equally impressive in its strangely symbiotic balance between members. On one side of the stage, there's Jim, flopping his hair, dancing and bashing his bass, while Barry, stone still, stands like a Medieval warrior going to battle. Across the stage, Paul hammers at his guitar, while Sam and Bryan solidify the center. The band appears transfixed in a stoic intensity similar to the Laughing Hyenas or Black Flag. It's a monolithic presence, from the way that all the equipment has "Blue Bird - Los Angeles" stenciled on it, to the band's late-80s SST bands' type of "fuck it" attitude, for just going all out.

The band spent much of the last year out of public view, but it remained incredibly productive during that time, and its recent onslaught of new material shows Bluebird to be refreshed and even more clearly defined in its mission. It's two recent albums - released just months apart - represent the diverse styles of the band.

The first album is the ambient, entrancing and mellow collaborative songs of Black Presence (Dopamine Records). The album was recorded in the band's rehearsal space in a series of open-ended "jams" with such guest musicians as Josh Hughes and Andrew Rothbard (Pleasure Forever), Dave Catching (QOTSA/Earthlings?), Mattias Shneeberger (Earthlings?) and J. Yuenger (White Zombie). The resultant tracks ebb and flow through musical landscapes much like contemporaries, Mogwai, Godspeed You Black Emperor, and Spritualized.

The second album, Hot Blood (Dim Mak Recordings) contains 13 infectious blasts that perfectly demonstrate the Bluebird enigma. Hot Blood was also self-produced, mixed by Joe Baressi (Melvins, QOTSA, Weezer, Jesus Lizard) and mastered by David Chepa (Velvet Underground, BRMC, Dr. Dre...). A split EP with Dead Meadow will be released in 2003 by the infamous Buddyhead label/website, and a handful of singles and compilation tracks are all in the works for 2002 and beyond.

Watch for tour dates throughout the U.S., Europe and Japan in the coming months. For more information, sounds and dates, go to the official Bluebird website, www.bluebirdsounds.com.

HISTORY
Bluebird is a rock group from Los Angeles- a mess of hair, guitars, collision and exhiliration set to the odd light show, burning effigies and guest musicians. Reckless, intense and throbbing while wide-open and sensitive. Songs are reborn in impovisation or edited together, coalescing into an evening's set. The Brothers Brown, desert people of the American Southwest have been playing music with each other and with various ensembles since their baby teeth. James the elder gravitated towards strings and horns. Bryan towards percussion. In the mid 1990's, as a rhythm duo, they began playing impromptu and improvised sets in and around the LA basin. It was through these chance performances that Sam James joined the Browns in their musical endeavors. Soon after, old friend, nomad, and veteran roadie extraordinate, Barry Gordon Thomas entered the fray contributing guitar sounds. Improvisations became songs in which to improvise lyrics and music.

That the aforementioned foresome would become a band seemed an unavoidable eventuality. The significance of these formative machinations is that experimentation, dynamics and rhythm remained a permanent organ in the group. Although their bashing as a bass/drum/guitar unit accounts for most of their material, they've included other accompanying instruments and musicians in their work. Vibraphones and accordians even find their way into recorded work. Satellite congeros and timbaleros join them on stage.

In the tail end of the year 2000, the addition of fellow Bluebird compatriat occured in the form of Shelby Cinca. Formerly of Frodus, a bombastic DC-based futurist punk band that toured with Bluebird in 1998. A short time after Shelby decided that the trips back and forth from DC to LA were a bit too much. Former Amen guitarist Paul Figueroa joined the group before they began writing and recording the newest and sophomore release "Hot Blood" on Dim Mak Records.

Bluebird is a living thing best observed in real life. On a given day or night, they might be found in a household, cafe, bar or library filling the room with high energy rock and roll - a pounding rhythm section, loud, wiry guitars and vocals that are exorcised as much as they are sung. Sam dances and writhes. Bryan and James set the pulse - vigorously whaling and unconsciously in time. Barry is the technician - painting maps to the surrounding soundscape with his ever-expanding array of effects boxes. And Shelby destroys and rebuilds his instrument in the fire of rock and roll warfare. In full swing, the power, adrenaline and volume of their music is consistently bombarding it's own dexterity and passion. Unrehearsing their rehearsals on stage. Bluebird is the beginning and the end....

DISCOGRAPHY:
Falling Back To Earth CD/EP 2004 Dim Mak Records (also on Sweet Nothing UK/Dotlinecircle Japan)
Hot Blood LP/CD Dim Mak Records 2002 (also on Sweet Nothing UK/Dotlinecircle Japan)
Black Presence LP/CD Dopamine Records 2001
The Two CD/LP Dim Mak Records 2000
High Atmosphere EP CD Lovitt Records 1999
s/t CD/12" ep Revelation Records 1997
Family Room 7" Outer Universe Research 1997
debut 7" Saguaro Records 1996

PRESS:
GIANT ROBOT
Blue Bird/ Hot Blood

With garage rock peaking out, a new generation of arena rock is bubbling under the surface. Bluebird plays, amped-up freedom rock with beer-bellied guitar riffs, overlapping dude vocals, and fireworks shooting off in the sky. T.Rex, Grand Funk Railroad, and Soundgarden come to mind during various parts of the CD, and when Bluebird slows down to grind some bass and get psychedelic, there's a little Blue Oyster Cult as well. Perfectly executed and produced, this hot piece of rock merits a goat sign and a lighter.

REAL DETROIT WEEKLY
Blue Bird/ Hot Blood

Think: A make-out party featuring the likes of Kiss, Sloan, The Makers, et. al. What you'd wind up with wouldn't be too unlike Blue Bird, purveyors of all that was (is) good and decent with 60's, 70's and modern riff rock. By and large, this is heavy, repetitive guitar music, but steeped in enough indie sensibilities from both the poppy and dark sides of the spectrum to keep things interesting. The first couple passes may not appear to yield much substance, but a couple more spins reveal the nuances of a very likeable rock'n'roll record. The only real gripe is that a couple of the tracks seem to drag on or lack a point, but given the nature of the disc, this is a minor complaint. The record has a great sonic vibe to it, showing just the right amount of production (which almost seems to improve as the disc goes on), and a nice variety for enjoyable guitar sounds ranging from smooth and round to in-your-face and urgent. Vocals are well-delivered and appropriate for respective tracks. Oh, and I should mention that former MC5 guitarist and hometown hero Wayne Kramer appears on "Beautiful Believer." Overall, this is a solid straight-up rawk with enough of everthing else the band out of the "one-trick pony" category. A good, high-powered listen

Best Listening Experience: "Falling Back to Earth" and "Kill the Lights" give excellent doses of maximum rock

HOT BLOOD by Eddie Ugarte
Ghettoblaster Issue #9

Ah, the bluebird of happiness has arrived. Silly, silly music scribe, not a bluebird but the Bluebird, the Los Angeles based outfit that's been bringing an arena rock sized sound to the underground since 1996. I'll have to admit that I've never been a huge fan of theirs but with Hot Blood, these motherfuckers are ripping shit up. "Falling Back To Earth" kick starts this bitch with a wall of low end guitars that rumble to match the chaotic affliction of Pompeii. It's not all about grinding things into the ears of the listener. It's also about matching that power with melodicism. Bluebird's musical muscle is matched by a clever wit. The band is consistent, one song right after the other but occasionally the band isn't averse to succumbing to cliches like on "Get In" where singer S.J. Velde voices "It might be the last time to twist and shout." Given I might be taking the lyric out of context but you get my drift. The song itself though is catchy and memorable. Ah, but where do my preferences lie? "Better Day that's where. Here Velde captures the mid tempo'd momentum with his heartfelt yearning for love. The music is still heavy and he couldn't compliment it any better than this. You really can't go wrong with Hot Blood, 13 songs of sweetness and heavy riffing.

HOT BLOOD by Dom Dispaldo
ROCKPILE

The style of Bluebird can be described as guitar-based modern rock, in the vein of such bands as the Foo Fighters or Fluf. Many of the songs on Hot Blood feature warm, mildly distorted guitars with varying levels of subtlety and dynamics. As far as the songwriting goes, there is a mixed bag of styles here. Some of the tracks have mainstream arrangements, while others are more experimental, even erratic at times. No matter what approach the musicians in Bluebird take, however, their performance is always tight and focused. It is this musical passion characterizing Hot Blood as such a respactable, worthwhile release.

HOT BLOOD
SKRATCH MAGAZINE

You may have heard of bluebird from its prior release on Revelation Records. If not, you're in for a treat. The band plays a progressive style of rock that can only be described as Queens of the Stoneage meets Fugazi and Drive Like Jehu. The guitar both pounds and drives the senses, while the vocals offer a softer, more melodic overtone to the music. The songs are very diverse in structure and seem to defy the conventional wisdom that all catchy rock bands follow the same song pattern. If you're into bands like Queens of the Stoneage, then the new Bluebird release will really get you rocking.

ROCKIST OCT 2003
Over the course of only three albums, Los Angeles' Bluebird have developed into quite the tight rock outfit. Hot Blood sounds like something you should feel guilty for listening to, but the songs are so good you can't help yourself. Rock that has swagger, but isn't ultra-cocky nor ultra-slick. The quieter moments where there's a little more space work really well, but the louder songs will have you air-drumming along with the dashboard. There are a lot of them and this record is so dense that it almost needs to be broken up into two sittings. Leaving quite a mark, Wayne Kramer (MC5) plays lead on "Beautiful Believer," which is one of the four best songs on this album. Definitely worth a listen.


posted by Sam Velde on 5:58 PM

This will be the Bluebird Bio


posted by Sam Velde on 1:36 PM