the subdudes

The music never really stopped — it was out there thriving and surviving in different forms — fresh collaborations, other names. But now, after an eight-year hiatus, the unique New Orleans/Rocky Mountain stew of harmony, groove, and roots that is the subdudes returns with MIRACLE MULE, a record of such grace, musicianship and soul that you’d never know the band had gone away. From the doo-wop gospel brunch of Morning Glory to the loping cicadas serenade of Mississippi Home to the roadhouse boogie hidden title track, MIRACLE MULE showcases a quintessentially American group of musical explorers in the tradition of Crosby Stills Nash & Young or the Band — admittedly lofty comparisons which the subdudes more than measure up to, with multiple songwriters and four astonishingly gifted singers. Magnie and his fellow founding members Tommy Malone (vocals, guitar) and Steve Amedee (vocals, percussion) are joined by longtime compadre Tim Cook (vocals, bass, percussion) as well as bassist/guitarist Jimmy Messa. Malone and Amedee grew up in Louisiana — Malone played Bourbon Street straight out of high school — while Coloradoan Magnie emigrated there after teaching himself piano from Professor Longhair records. the subdudes formed in 1987, spinning off from the more raucous Continental Drifters during one of Magnie’s weekly piano gigs at Tipitina’s in N’awlins. With exquisite vocal interplay and unique elements like Malone’s slide, Magnie’s accordion and Amedee’s brushed and hand-struck tambourine, the subdudes established themselves as a treasure trove of blues, folk, R&B, country, cajun, funk, gospel, and rock’n’roll. They made four studio albums — 1989’s self-titled debut, 1991’s LUCKY, 1994’s ANNUCIATION and 1996’s PRIMITIVE STREAK — for High Street Records, collaborated with Bruce Hornsby, the Rebirth Brass Band and Bonnie Raitt, and of course were perennial favorites at the New Orleans Jazz and Heritage Festival — even though they relocated to Magnie’s hometown of Fort Collins, CO early in the game. When the subdudes said “hasta la vista” with 1997’s LIVE AT LAST, Malone and original bassist Johnny Ray Allen headed back to the bayou, forming Tiny Town with drummer Kenneth Blevins and singer-songwriter Pat McLaughlin. Magnie and Amedee remained at altitude with Cook, an Indiana native who had his own studio in Colorado and had become the subdudes’ road manager, drinking buddy and collaborator (he co-wrote the song Sarita, and produced the live record). The latter three formed the band Three Twins, making records and touring mostly in the mountains. In February of 2002 Malone, who after Tiny Town had formed the Tommy Malone Band with Messa and drummer Sammy Neal, played a show in Denver. Magnie drove down to sit in, and much like that night at Tipitina’s 15 years ago, the chemistry couldn’t be denied. “We just decided that we had to start playing music together again” Magnie says. “It was one of those cases where the sum is greater than the parts, and sure enough, it took off from about where it had been before.” The two trios merged, then re-emerged as the subdudes at Jazz Fest 2003. They parted ways with Neal, because “Steve Amedee on the tambourine was always our signature sound,” says Magnie. “Out of that little ten inch wide tambourine he gets a bass drum sound and kind of a snare drum sound and then the jingles sort of take the place of cymbals. He’s a great drummer too, but when he plays the tambourine he just gets different grooves.” Adds Malone, “He’s one of the most naturally talented people I’ve ever met. He’s got great musical sense, really good ideas, and perfect pitch - which really pisses me off, since he doesn’t play a melodic instrument!” With Amedee contributing more songwriting ideas and Cook and Messa adding fresh perspectives, the newly re-formed subdudes developed gradually. They gathered at Malone’s converted-garage studio for a time or two, and also enjoyed a period of enforced creativity when three feet of snow left them bored and gigless in Colorado — work that ultimately produced the bittersweet "I’m Angry" and the intricately gorgeous "Brightest Star." “We’re all just loving it,” echoes Malone, “It’s better than it’s ever been.”