Patricia Vonne - Electronic Press Kit

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AUSTIN CHRONICLE REVIEW:
by Margaret Moser
Patricia Vonne slammed her spike-heeled boot on the pedal to the metal for her third CD, Firebird (Bandolera). With each new recording, her Latin rock hybrid grows stronger, this one imbuing her rebel spirit ("Hot Rod Heart," "Jett Rink") with a potent political and social conscience. The opening track, "Missing Women," which casts a harsh light on the hundreds of vanished Latinas in Juárez, Mexico, is revisited at the end in Spanish as "Mujeres Desaparecidas." Vonne is one smart cookie, balanced between solid rock efforts like "Dutch Cigarette," the country inflection of "Karolina," and her Spanish-language beauties "Torera" and "La Huerta de San Vicente."

"Newhouse Publishing": Firebird 4 Stars
by By Kevin O’Hare

San Antonio Express-News : Jim Beal
Vonne brings her Tex-Mex rock to S.A.

Patricia Vonne has few peers when it comes to striking musical balance. The willowy, kinetic and soulful singer and songwriter from Austin by way of San Antonio can move quickly between serious and playful, sultry and steely, tough and tender and Spanish and English.

On her new CD, "Firebird" (Bandolera), Vonne offers up "Missing Women"/"Mujeres Desaparecidas," about the murdered women of Juarez, and follows it with the all-out, big-fun "Hot Rod Heart," co-written with rocking sax ace Johnny Reno.

Vonne grew up in a large, bilingual S.A. family that includes filmmaker Robert Rodriguez and other creative siblings. She not only has a grasp of the worlds of fantasy and harsh reality, she is able to write fantasy when it fits, reality when it's necessary.

"Firebird," Vonne's third release, is her strongest yet. An unapologetic rocker who can make castanets cry for mercy, Vonne is fiercely proud of her Tex-Mex roots. She unselfconsciously brings her roots and influences together into a solid, organic whole driven by solid rhythm and the jangle of guitars. When Vonne sings "Torera," about a female bullfighter, or "La Huerta de San Vincente," the Spanish sings. When she turns around and digs into "Dutch Cigarette" and "Jett Rink," both written with LaRoche, the roots rock rollicks all the way.

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NY Times Syndicate
John Shelton Ivany Top 21

Right on the trail of Joe, the gypsy rock'n'roots of Patricia Vonne paints a picture of a rail riding cowboy with the broad brush strokes of Vonne's pouty vocals. She spits poison, "Don't mess with Texas or a green eyed girl," as she pulls the chorus out and down: "Joe's gone ridin', ridin' on the rail." A pleasing start for this Renaissance woman of Austin, Texas. The opening has everything to hook one into the sound of Vonne: she sings, plays the guitar, and tells a story, rather than confessing; we're no priests. "Texas Burning" is the affable follower to the tale of human greed and a gypsy cowboy, and then there is the spanish gem "La Gitana De Triana." Vonne's voice becomes a sensuous syllable slicer as she moves through nights, days and passed la Cruza de Guadalquivir.

In a rollicking call, Vonne sets ablaze matrimony with "Rebel Bride." The song stands about as close to a Billy Idol song as Vonne will ever get, however that may just be "White Wedding" residue. The song is an emphatic ode to the tradition of eloping, rather than going through the mess of a white wedding. The title track, or more properly "Guitarras y Castanuelas," centers on the Castilian slurs of Vonne, and the track was co-written by the innovative independent director Senor Robert Rodriguez. The narrative of "Guitarras y Castanuelas" shows the signs of Rodriguez, and is the finest Spanish track on the album. The rock rage of "Sax Maniac" is as far from the Frontera as Vonne ever gets; and thankfully she makes it. The Green-eyed beauty of Sin City proves she is much more than a sweet face on Guitars and Castanets.

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HARP
RANTS and FAVES
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Austin singer-sonwriter Patricia Vonnes self- titled debut stunned with its multi-faceted songs thatblend folk (American,Spanish, and Mexican), rock, country and blues. Her second album is as diversely influenced but streamlined; the previaling sound is a hybrid of cowpunk and paisley underground (think Rank and File vs. the Gun Club)—and ideal foundation for Vonne’s cool, sultry, cinematic songs. She’s a beguiling storyteller and wastes no word or note as she lionizes musical heroes Joe Ely (Joe’s Gone Ridin’) and Johnny Reno (who plays himself on “Sax Maniac”), romanticizes biker gangs (“Lonesome Rider”) and rewires wedding songs (the rip-snorting guitar- driven “ Rebel Bride”. Vonne also honors her Spanish roots, singing—en espanol—of gypsies (“La Gitana de Triana” and “Guitarras y Castanuelas”) and celebrations (“Fiesta Sangria”) over clicking castanets and nylon –string guitar. (These songs could seem out of place or indulgent, but Vonne pulls them off smartly.) In all, this is a fun, immensely satisfying listen—if her debut was flat- out stunning, call this a knockout.
-Randy Harwood

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Uncut
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NO DEPRESSION
Guitars and Castanets

With a sultry, blood-red vocal style and a dramatic songwriting flair, the strikingly exotic Patricia Vonne combines south-of-the-border mariachi sizzle, southwestern mythology, Texas roots-rock and spaghetti western cinematic sweep on this compelling bilingual effort. She certainly comes by the cinematic connection honestly: She portrayed Dallas (aka “Zorro Girl”) in her brother’s ( director Robert Rodriguez) recent noir jolter Sin City; the closing track,, “Traeme Paz”, appeared on the soundtrack to his Once Upon a Time in Mexico); and Rodriguez takes co-writing credit on this disc’s title cut. Robert LaRoche plays a key role, co-writing seven tracks with Vonne and providing sturdy guitar and backing vocals throughout. There are also contributions from Jon Dee Graham, saxophonist Johnny Reno, nylon string guitar maven Rick Del Castillo and keyboardist Michael Ramos. For all the variety, Vonne fairs best by far on such evocative Spanish-language beauties as “La Gitana de Triana”, “Guitarras y Castanuelas” and “Fiesta Sangria”, along with Joe’s Gone Ridin’ “ ( a salute to Joe Ely), the loping “Long Season, and the harrowing “Blood on the Tracks”. Overall, Guitars and Castanets is a bold venture dripping with passion and style.
-Jim Musser

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WORD
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The Independent
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MAVERICK
live concert review
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HMV Choice Review
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Elmore Magazine

The incredible Patricia Vonne strikes forbidding poses on the cover of her second album , Guitars & Castanets. Fitting , because the New York City inspired Spanish Texan is also an actress -she played Zorro Girl in last winter's chic movie Sin City. Vonne's songs-like her cover shots-are charismatic, enchanting, and aggressive. This is Tex-Mex like you never heard it, pumped up with a million tons of attitude. One minute she's quite traditional, serenading in Spanish over the driving acoustic mariachi of " La Gitana de Triana" and the next she's furiously and sexually rocking her ass off with her band on "Rebel Bride."

The variety of the material is captivating as is the timbre and range in Vonne's voice. " Texas Burning" is unmistakable, raw Texas country, " "Long Season," a bid for a shot at mainstream country-and it's probably better than everything on CMT. Joe's Gone Ridin'" which opens the album like a scene unfolding in the wide-open west Texas plains, is written and played in tribute to Vonne's friend and mentor, Joe Ely. It has his stamp all over it. Each song folds naturally into the next, creating a bold sequence.

The band , prominently featuring Vonne's husband Robert LaRoche on guitars, is fantastic. Johnny Reno's "Sax Maniac" shuts it all down in a cloud of smoke. This diminutive powerhouse has all it takes to become huge. If your tastes run anywhere near this direction, Vonne and this album are not to be missed, period.

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Vonne, Patricia
Guitars & Castanets Folkwax
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San Antonio Current
CD Spotlight
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Music Spectrum
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TEXAS MUSIC magazine
Spring 2005
PATRICIA VONNE - Guitars & Castanets

It’s hard to believe Guitars & Castanets is only Patricia Vonne’s second album. It sounds like the work of a veteran recording artist, with the self- assurance to tackle whatever subject she wants in whatever manner she chooses. Hence, we have the “don’t mess with Texas” gypsy cowboy of her Joe Ely homage, “Joe’s Gone Ridin” the country rock of her own “Blood on the Tracks” and the straight –ahead rock of “Rebel Bride” mixed with the mariachi of “Guitarras y Castanuelas” dedicated to Alejandro Escovedo. Another influence, Johnny Reno, appears on the sexy R& B rave-up, “Sax Maniac” Vonne clearly picks her inspirations well, and this package clicks with the control of a flamenco dancer wielding some fierce castanets.—Lynne Margolis

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AUSTIN CHRONICLE March 4, 2005
P2C05
By Margaret Moser

She plays castanets, she works without a net, and the audience likes it better when she walks onstage. With the release of Guitars & Castanets, Patricia Vonne's second album stakes her claim on Texas border rock and mines a rich vein of golden Mexican rhythms. "Being one of 10 children in San Antonio, there was always music in the house," says Vonne. "My mom would sing to us in Spanish and have us harmonize. My dad was a drummer in college, so he always had a kit in the house. They loved having mariachis come to our house. I also grew up listening to my brother's record collection of Cruzados, Lone Justice, and Johnny Reno. I always loved Southern rock and the diverse mix in the music I was hearing."

"My brother" is her elder sibling, director Robert Rodriguez, with whom she shares a close bond. The two work together as time and projects permit. Vonne's "Traeme Paz," a bonus track on her new album, was also featured on the soundtrack of Rodriguez's Once Upon a Time in Mexico.

Vonne and Rodriguez also co-authored her album's title track, a Spanish language version called "Guitarras y Casta-uelas."

"I'm really proud of this song in particular," Vonne emphasizes, "because I co-wrote it with Robert, whom I enjoy writing with so much, and we wrote it for Alejandro Escovedo, who inspired it. Remember the song 'Castanets' that Al wrote? He'd let me join him onstage with my castanets, so this is my way of thanking him."

The castanets set Vonne apart. They're her instrument of choice, and their distinctive tone is a hallmark of her music. Novices to her shows may be surprised to see her sinewy swaying onstage as husband Robert LaRoche accompanies her on Spanish guitar. Her lanky, strikingly beautiful appearance suggests a haute couture model, and indeed a stint modeling inspired her to start her own band.

Guitars & Castanets will add many dates to Vonne's already burgeoning calendar. Her music takes her all over, an experience she treasures. "I traveled to Europe for the third time this past year," she notes. "I visited Norway, the Netherlands, and Germany. The audiences there are so wonderful and generous."

Yet there's no place like home for Vonne, who, like her brother, lives in Austin. The town's constant creative flow puts her on record in the fine company of Charlie Sexton and Jon Dee Graham as well as popular producer Carl Thiel. Songs like "Rebel Bride" transcend the singer-songwriter genre with a twist.

"The rhythm of the song was surf-inspired. I just love that drumbeat, and I envisioned a rebel bride! I'd always wanted to write a sexy, rockin' wedding song. A woman who knows what she wants. She lassos her man and they elope!"

The image is so theatrical as to suggest a broader scope for her songs. Patricia Vonne keeps one eye on her options. "I'm always putting out feelers to film and TV for my songs, so we'll see."

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GRAMMY Magazine - October 22, 2003

Musical Roots Grow Deep In Her Family
San Antonio-born Patricia Vonne mixes country, rock, folk and Spanish elements

San Antonio Express-News, Ramiro Burr

Family support can be a good boost for any artist, but for country-rocker
Patricia Vonne, it was a major influence early on.

"It comes from what I grew up listening to, starting with the Spanish songs my mother would sing to us," Vonne said. "There are 10 children in my family.
She needed to keep us out of trouble and to keep music in the house, which really tamed us."

Vonne has been touring behind her self-titled debut, which mixes country, rock, folk and Spanish elements.

While her mother kept music going in the house, her dad took her to concerts,
which made her realize the importance of stage presence.

"In the live show, I pull out my castanets and do my Spanish music," she said.
"In a performance, you have to catch the audience's attention. That's what
really intrigued me when I would go with my dad to see shows. If something
stuck out, that made our day."

Her early musical influences were also shaped by the bands to which her brothers listened, including 1980s Los Angeles rock group Los Cruzados. One of her brothers is director Robert Rodriguez, who shot the video for her first single, "Won't Fade Away."

The San Antonio-born, Austin-based Vonne, born Patricia Vonne Rodriguez, recently got the chance to tour with Cruzados vocalist Tito Larriva.

"I wrote a song on the CD for him ['El Cruzado'], just paying homage to the music we grew up listening to," she said. "I eventually got to go on tour with the man, so he was like my Federico Garcia Lorca — he's an amazing songwriter and so influential."

"Won't Fade Away" has jangly chords that echo Michelle Branch's "All You Wanted."

Part of Vonne's appeal is her bilingual talent. She easily alternates between Spanish and English, depending on which language helps tell the story better. The Spanish tracks are "Bandolera," a corrido; "Soledad," a soft-rock ballad; and "Severina," a ranchera tribute to Vonne's grandmother, who died last year.

Anyone looking for the album, however, is most likely to find it in the pop or rock section of record stores.

"I went to the store myself to check, because they didn't have the label 'Texas-influenced roots-rock with a south-of-the-border flavor,"' she said.

Fans of Mary Chapin-Carpenter, Joe Ely and Los Lobos will easily get into Vonne.

After she graduated from high school, Vonne moved to New York to pursue acting and modeling. While working at the China Club, she heard a power-pop band called the Sighs. She introduced herself to vocalist Bobby LaRoche, who went on to become her songwriting partner and husband.

"I started writing quite late — in 1996," she said. "Three-chord songs. I joined a three-piece band in New York as a backup singer and bass player. Then I started learning the guitar. That's what broke that barrier for me to write music."

She moved to Austin in 2001.

Vonne's regular gigs in Austin include Antone's, Stubbs and the Continental Club, but she also plays occasionally in San Antonio.

"I'm still booking myself, with my husband's help," she said. "We scout out the venue, see what other bands play there. We've been here two years, and we've found our niche. We like to play the Continental Club, because they enjoy every style of music. We play ... Gruene Hall in New Braunfels [Texas]. If we can get just one good club out of every city, then we're OK."
© 2003 San Antonio Express-News

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EUROPEAN REVIEWS
echo-online, Germany
Country Home , Germany
Radio Jade, Germany
Bluesiana, Austria
Real Roots Cafe, Holland
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CRITIC'S CORNER
"The San Antonio native's confident, tuff gal vocals, sharp musicianship and smart lyricism don?t just promise the total package, they deliver the goods from the get-go."
   -Joe Nick Patoski, Senior Editor | Texas Monthly magazine