work to do
to be released!
November 4, 2006
Despite a wholesale instrumental personnel makeover since last year’s stunning “What’s Goin’ Down,” Public Property’s third disc in as many years continues the band’s meteoric upward arc as they continue to fashion some of the most ebullient, infectious reggae/ska-based island music anywhere.
Charismatic Hawaii-born frontman Dave Bess and the vocal trio of Mareva Minerbi, Margaret Larson and Georgette Stern remain the group’s bedrock, with Bess’ uncanny Marley-esque raspy crooning style elegantly shadowed by the girls’ ethereal, I Threes-like chirping — all punctuated by percussionist Matt Grundstad’s percolating rhythms.
Newcomers Ben Franklin and Jeremiah Murphy lock down the rhythm section, guitarist/vocalist Andy Parrott supplies a non-stop blur of driving rhythm chops and slinky, serpentine solos, and keyboardist/vocalist Paul Hala adds varied, spot-on textures.
Beautifully recorded by John Svec at Minstrel Recording, “Movement” glides and rips through 11 original tracks in the quickest 65 minutes imaginable, mixing socio-political messages with upbeat celebrations of life on this melodic, celebratory tour-de-force.
by Jim Musser
February 1, 2008
An ‘Iolani grad is happy to bring this hard-working band to Hawaii
IT’S BEEN an uphill battle for Public Property, the reggae band from Iowa fronted by 1999 ‘Iolani School graduate David Bess.
Besides the typical struggle endured by countless independent artists year after year, the band underwent drastic lineup changes after releasing its first two albums. And make no mistake, playing roots music in the Midwest was an exercise in frustration when critics were too close-minded to accept a different look paired with a familiar sound.Public Property makes its Hawaii debut next week with another former Hawaii resident, 1999 Mid-Pacific Institute graduate Mareva Minerbi, in tow and eight shows already booked. The Star-Bulletin caught up with Bess, who is the son of Bess Press’ Buddy Bess and the brother of Hollywood actor Daniel Bess, earlier this week while the band was on tour in Colorado.
Q: How did Public Property get its start?
A: It was my senior year of college at the University of Iowa. I started the band with one of my best friends, who’s a drummer, and we found a bass player. So it started out as a trio.
Q: Why wait until you were almost done with college to start a band?
A: I’d never really developed any songwriting skills. Throughout college I just kinda played blues jams, nothing very serious.
My sophomore year, actually, I did have a band before this band … it was more along the lines of a blues-rock mix.
Q: How did growing up in Hawaii affect your musical tastes?
A: I’d say it had more to do with the scene.
When I grew up, Radio Free Hawaii was on (and) there was great music being played on that station. The scene got me into all this other stuff, and the reggae … that just came naturally.
Q How has the band changed since you started?
A: Actually, there’s a lot of transformation … the band grew by a whole lot.
At one point we were, like, a nine-piece band. Then basically it was an overhaul (and) we had to replace people.
The third album was with this new lineup, and now we’re in the midst of working on a new album.
Q: Have the changes affected the overall sound?
A: Fortunately, when our band kind of broke up and reformed, we were blessed to get all these great musicians to join. One thing that has been constant is me and the girls. I was also doing most of the songwriting.
Q: How tough was it to find a following in Iowa?
A: Actually, it wasn’t that hard at all. Everyone’s got the Internet.
When we started, it took a while to gain a local following, but we were quickly embraced once we had our first album out. People started spreading the music, and we encourage people to burn our CDs and spread them around freely.
Q: Were there critics?
A: Yeah, we’re all white. None of us have dreadlocks and we’re coming from the state of Iowa. So it makes perfect sense why people would be skeptical of what we’re doing.
But once they take a listen or see us live, it’s not relevant anymore. The thing that we care about is the people who come to see us play.
Q: What has it been like to be on tour for the last 18 months?
A: We’re crashing on a lot of friendly floors, but that’s part of the adventure. We’re pretty much always playing. At least three shows a week, if not more.
Q: What are you looking forward to most about coming home?
A: For me, I’m returning to the place that brought reggae to me. This is where I learned about and fell in love with the music. And being invited to Bob Fest is a great honor.
Q: What does the future hold for the band?
A: After all those shows in Hawaii, we’re going to come back to the West Coast. Pretty much from that time when we get back in March, we’ll be working on the new album.
We’re a small business besides being a reggae band. We’re booking the shows and doing the promo. I’m really proud of the fact that we can do all this without needing a label.
By Jason Genegabus
November, 2006
Iowa’s Public Property jumps back in the ring with Movement (Public Property). Tight band arrangements with soaring Hammond B-3, bass and drum, intricate intertwined guitars weaving through sweet harmonies from backing vocalists Margaret Larson and Mareva Minerbi, tasty percussion and even a dash of ukulele, the group has a sound that is full-tilt reggae even though they don’t try to sing in fake patois and write original material that actually sounds original. Lots of syncopated rhythm breaks, bursts of pure groove and passionate musical interludes flesh out songs written by various band members including “Everyone is Africa”, “Lay Low”, “Footprints” and (explain this one) “Kangaroo Loveshack”.
Parental guidance recommended (for the lyrics, not the message) on single-entendre girl-chat talking blues “When A Boy” and rap attack “Break Down”. The former may not be radio friendly but it’s rudie/cutie (the kind of song that would have never made it to disc in the pre-independent “major label” days but definitely shows another side of the band). The latter is a cry from the heartland that (along with the uncompromising title track) shows the mental midgets at Opinion Media giant Fox Pravda and George’s Dick don’t quite hold the sway they assume. All in all you get the definite feel of a self-contained band that’s used to playing live on this energetic and enjoyable release.
by Chuck Foster
حصري شباب ليبيا شات صور توبيكات منتديات يوتيوب صور سيارات فساتين دليل المواقع