Star-T’s Top “Local” Albums from Dallas, Denton
Anyone else a little disheartened if not downright perturbed that Fort Worth Star-Telegram pop music critic Preston Jones’ top five “local” albums of 2010 includes only one album from a Fort Worth-based band, The Orbans’ When We Were Wild? I mean, he’s writing for the FORT WORTH Star-Telegram. Though I understand that the Startlegram’s coverage encompasses all of North Texas, not just Tarrant County, I guarantee you that most Star-T readers live in the 817 and are more concerned with what’s happening in their backyards than in backyards 30 miles to the east or north. A body could argue that Jones’ other four choices might as well have been from, say, Pennsylvania. Of them, I’ve heard only one, Sarah Jaffe’s innocuous Suburban Nature, so I’m not about to go claiming that they are any less stellar than any of the notable LPs and EPs produced by Fort Worth talent in 2010, though I’m wondering if Jones ever initially even deigned to alight from his lofty Denton-of-the-mind perch to actually listen to EPIC RUINS’ Void Mariner and the Mystic Boogie of the Sacred Line, The Burning Hotels’ Novels, Shea Seger’s Shea Seger, The Foxymorons’ Bible Stories, Analog Rebellion’s Ancient Electrons, Stella Rose’s Drag, Whiskey Folk Ramblers’ … And There Are Devils, Eaton Lake Tonics’ Rancho Folly IV, Hentai Improvising Orchestra’s A Box of Hentai, The Dangits’ Greatest Hits Vol. 1, Titanmoon’s We All See Stars, Cityview’s Big on the Inside, Luke Wade and No Civilians’ Tomorrow’s Ghosts, LAZËR’s Twatobahn, Dru B Shinin’’s Dirty Money Painting, Sean Russell’s Mystery of the New, KatsüK’s Skeleton Key, Chatterton’s The Cold Open, David Matsler’s We’ve Changed, Merkin’s Scatology, Keegan McInroe’s From the Wall & In the City, Villain Vanguard’s McMontezuma’s Revenge, JoCo’s A Troubling Noise, The Cush’s Between the Leaves, Elizabeth Wills’ Love Comes Home, Warbeast’s Krush the Enemy, God’s Joke’s Greatest Misses, Jefferson Colby’s Semantics (Metaphysical Mood Music), In Memory of Man’s The Reckoning, Waking Alice’s The Shaping, Darrin Kobetich’s Songs for a Muse Meant, 800 Mile Monday’s In the Fertile Gardens of Freedom, Naxat’s Chambers of Naxat, Igneous Grimm’s The Man Outside, and, of course, our 2010 Fort Worth Weekly Music Awards compilation CD (featuring new or un-released tracks by the Whiskey Folk Ramblers, Clint Niosi with The Theater Fire’s James Talambas, Pinkish Black, and Browningham, among many others). Seriously, of all of that 817-local production, only one album was good enough to crack Jones’ top five? For reals?! At the very least, the guy could have trotted out a top 10 or top 15 list, incorporating more Fort Worth-based artists. Why thumb your nose in your readers’ faces? The good news is that we now know where Jones’ heart and alligiences lie, precisely where some of us have always suspected: in Dallas and Denton and not in Fort Worth.