MEDIA: Click Here to view/download Patricia Vonne's Electronic Press Kit (PDF)
AUSTIN CHRONICLE
Firebird
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."
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HOUSTON PRESS
Firebird
Patricia Vonne has absorbed just about every indigenous musical style Texas has on offer, and can summon any one in the flick of a castanet or guitar pick. She may have acting experience — Vonne's brother is Grind House and Desperado director Robert Rodriguez, who cast her in Sin City and Spy Kids — but she's not acting on Firebird. Picking up where 2005's Guitars and Castanets left off, her third LP mingles Vonne's Latin roots with her rockabilly soul. "Hot Rod Heart," cowritten with native Texan and former Chris Isaak sax maniac Johnny Reno, ably follows G&C's dusty Joe Ely tribute "Joe's Gone Ridin'," as "Jett Rink" canters around the set of her favorite movie, Giant. "Torera" is Shakira-sultry — Vonne has an affinity for lady bullfighters, as well she should — while she turns brassy roots-rocker à la Maria McKee for "Dutch Cigarette," and "Carolina" as close as she's ever come to country. Vonne's riskiest move may be bookending Firebird with "Missing Women/Mujeres Desaparecidas," her tribute to the nearly 500 women missing near Juarez, Mexico since 1993. Both English and Spanish versions are sung in steely Pat Benatar tones, but here love is no battlefield. It's a mass grave.
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NEWHOUSE PUBLISHING
Firebird
(**** 4 stars)
With her perfect mix of Tex-Mex firepower and a distinctive, bilingual vocal style that's both sultry and scorching, it's easy to forget that Patricia Vonne spent plenty of years in New York. Yet her childhood home was in San Antonio, and she earned her stripes in the ultra-competitive Austin music scene. Together with her husband Robert LaRoche, she's established a serious roots rockin' career, not only in Texas and elsewhere in the U.S., but also in Europe, where she's been widely acclaimed thanks to a relentless touring schedule.
On her third album, "Firebird," Vonne builds on the promise of previous efforts like her eponymous 2002 debut and the rock-solid 2005 release "Guitars and Castanets." Here she solidifies her sound, a gritty mix of torch 'n' twang, deep border radio roots, a powerhouse voice that won't quit and a straightahead approach to songwriting that blends a myriad of sounds, from the fiddle-backed, heartland echoes of "Will We Ever Be," to the far more urgent “Missing Women," a song about the hundreds of disappeared or murdered women of Juarez, Mexico, which also shows up here in its Spanish-language version "Mujeres Desaparecidas."
Vonne explores a lot of different styles on "Firebird," delving into Los Lobos' land for the upper-octave beauty "Hot Rod Heart," winding her way into more exotic terrain on "Torera," and taking on the West Coast twang time territory of the steady-building, harmony-filled LaRoche-Vonne composition "The Dogs Dance." The disc builds solidly throughout, peaking with the flat-out rockin' "Dutch Cigarette," an NRBQ-flavored, roadhouse rockin' cut which proves just how far Vonne can take her talent. She pairs that brilliantly with the beautiful country of "Karolina," which at first seems way out of her range, before one realizes that this is a woman that can take any kind of material and turn it into her own. Great stuff, passionately played, exquisitely arranged and meticulously delivered. Vonne has always been a major rising talent, but with "Firebird," there is no doubt that she has come into her own.
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SAN ANTONIO EXPRESS NEWS
Firebird
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
Guitars and Castanets
(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
Guitars and Castanets
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.
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UNCUT
Guitars and Castanets
Zorro Girl - and sister of Robert Rodriguez - shows her Tex-Mex skills. Vonne may be more recongnisable to Uncut readers as Zorro Girl in her brother's movie Sin City, but her second album reveals her to be an excellent Tex-Mex singer-songwriter, too. Opening track "Joe's Gone Riding" is superior roots-rock, comparable to that of The Clash circa London Calling, and sets the album's pulse. Vonne sings well in Spanish and English, draws on country, ranchero and rock flavours, and is a clear compatriot of Joe Ely, Doug Sahm and Alejandro Escovedo. Only occasionally slipping into singing-actor cliches ("Rebel Bride"), Guitars and Castanets is no mere cash-in on her cinematic fame.
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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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ELMORE MAGAZINE
Guitars and Castanets
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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MAVERICK
live show review
Patricia Vonne York, England- Fibbers
It’s 35 miles from where I live to York so I always do some quality control checks before I embark on the trip. This time the decision was harder than usual because of the sub zero temperatures and a seasonal predilection for sitting in front of the log fire. Fortunately during the afternoon I had given Vonne’s latest album Guitars and Castanets some welly and had fully satisfied myself that this was no ordinary Americana talent. But nothing could have prepared me for this extraordinary gig Blazing her way through a virtuoso rip-roaring set of alt. Country, country rock, Tex Mex, flamenco and ,er…metal which took in most of the songs on Guitars and Castanets (memorably the single Texas Burning, Rebel Bride, and Joe’s Gone Ridin’) along with earlier material from her debut. Vonne is in possession of a voice every bit as gorgeous as Lucinda’s or Emmylou’s and charisma in bucket-loads…while the actress in her (and there is plenty of that) does a fine line in Spanish gothic melodrama, which I guess is why she got the part in SIN CITY. And then she gets her castanets out… If not enough people were dancing she just leaps down from the stage to show the audience how it’s done, galvanizing everyone into action and going down a storm in the process. All this and a band as tight as Steve Earle’s Dukes. You know how it is when you’ve seen the best gig in your life? Well, for me it’s probably still Led Zeppelin at the Royal Albert Hall in 1969. But this one came mighty close…You have got to catch Vonne when she returns in the spring because you will never have seen anything like her before.
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SAN ANTONIO CURRENT
CD Spotlight
Guitars & Castanets
Much like her big brother, Robert Rodriguez, Patricia Vonne loves archetypal border characters. Her thoroughly excellent new album, Guitars & Castanets, overflows with romantic references to gypsy cowboys, rebel brides, lonesome riders, cotton fields, tumbleweeds, and the magnetic pull of Texas' scorching heat. It's all very melodramatic stuff, but Vonne makes it work - partly because she pairs it with locomotive grooves, and partly because she believes it to the core. Not many songwriters would dare to offer a line like "Don't mess with Texas or a green-eyed girl," but at her heightened level of reality, it's strangely plausible, kind of like the cantina-scene dialogue in Desperado. Vonne has a background in acting (most prominently in her brother's films) and dance, but she's no dilettante where music is concerned. Her voice, which occasionally recalls the warmth of Roseanne Cash, easily darts from the raucous belting of "Rebel Bride" to the ethereal sweep of "La Gitana de Triana" to the the country twang of "Texas Burning." With expert backing that includes Buttercup guitarist Joe Reyes, session wizard Charlie Sexton, and veteran singer-songwriter Jon Dee Graham, she commands the proceedings with charismatic assurance. It's rare to find an artist able to shift so convincingly from singing in Spanish over lilting Latin rhythms to singing in English over a roots-rock track. Ultimately, this album is so strong you'll find yourself forgiving Vonne for naming one song (a Johnny Reno tribute) "Sax Maniac" and naming another after Bob Dylan's Blood on the Tracks.
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TEXAS MUSIC MAGAZINE
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
Guitars & Castanets
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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THE IRISH TIMES (ARTS SECTION)
live review
PATRICIA VONNE - Whelan's, Dublin, IRELAND
Siobhán Long
We came expecting some raucous Tex-Mex, and left exhilarated by a Rabelaisian cocktail of the most sensual flamenco criss-crossed with a heady brand of rock 'n' roll that was pure Texas. Patricia Vonne and her band peddle a magnificent line in high-octane, heard-rochin', spangly guitar, bolstered by as freewheeling vocal style that one suspects would be just as much at home by the campfire as it would in the rowdiest bar-rooms.
Rarely do we get the chance (or the pleasure) of witnessing such a naturally charismatic performer in action, up close and personal. Vonne's sheer exuberance was almost enough to fetter her audience at her feet, but her rocket-fuelled set list was no slouch in the seduction stakes either.
She conjures a world that's utterly alien, lit by southern Texas light and populated by exotic characters who use, abuse and discard compadres with the feckless facility of lone riders more at home with the music than with humanity.
Joe's Gon Ridin', a sideways tribute to Joe Ely, could so easily have descended into rabid sycophancy, but instead blazed a scorching trail in the path of the greatest Flatlander of them all.
La Cigarra pays its dues to the Mexican folk tradition so beloved of Vonne's mother, with Vonne inhabiting every castanet-shadowed syllable as though it was the only source of oxygen in the room. Rebel Bride is a raucous barnstormer that had Vonne's band closing in on her like a demented predator in pursuit of its prey, with Vonne's sinuous vocals effortlessly eluding them time and time again.
Traeme Paz, from the soundtrack of Once Upon A Time In Mexico (directed by her brother, Roberto Rodriquez), was suitably cinematic, but then again, Vonne herself could be a big-screen icon: all flailing arms, piercing eyes and belly-punching lyrics. A true original and a bracing presence, which deserves a wider audience round these parts.
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WORD
Link to --->
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THE INDEPENDENT
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HMV CHOICE REVIEW
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SAN ANTOINIO EXPRESS NEWS
Musical Roots Grow Deep In Her
Family
San Antonio-born Patricia Vonne mixes country, rock, folk and Spanish
elements
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."
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EUROPEAN REVIEWS:
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"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
“superior roots –rock from excellent singer-songwriter.”
4 star review - Uncut
“a beguiling storyteller - if her debut was flat out stunning, call this a knockout.”
- Harp
“Good looks, good voice, good album, simple as that.”
- Mojo
“The Green-eyed beauty of Sin City proves she is much more than just a sweet face on Guitars and Castanets.”
- New York Times
"Imagine a young Chrissie Hynde fronting the Mavericks with a little help from Calexico."
- WORD
“Guitars and Castanets is a bold venture dripping with passion and style.”
- No Depression
“this is a talent to melt the coldest heart.”
The Sun
“hot–blooded mix of Latin rhythm and rattling bar-room rock.”
- The Times
“An impressive album accurately portraying the artist’s upbringing with some excellent material.”
- Maverick
“The very fine Vonne purveys a powerful, Texas styled, rootsy rock ‘n’ roll.”
- Time Out London
“a refreshing mix of English, Spanish, and, of course, castanet action.”
- The Independent
“ Moody, gusty, storming tunes combined with slick vocals, makes this Texan beauty one to watch!”
- The Sun
“while conscious of their roots, Vonne’s songs remain organic and alive.”
- The List
"Guitars & Castanets" should be heard driving in a red convertible, preferably running from the law or a lover, and undoubtedly on the way to Mexico. "
- JUPITER
"Patricia Vonne's latest recording is a bilingual tour-de-force. It
melds eclectic with electric and exudes an elegance seldom associated
with rock. Vonne is quickly taking her place among Texas' musical treasures."
- Margaret Moser | Austin Chronicle
"This Austin Chicana's lilt has a bit of the border desert in it and
her down -on- drag tunage, no doubt knocks 'em dead whenever she makes
it to Lubbock, and her voice is thankfully as suited for Nashville as
for No Depression."
- Chuck Eddy | Village Voice, NYC
"The evolution of the female singer/songwriter continues with Patricia
Vonne, a contempory troubadour who has released her debut CD on Bandolera
Records. Vonne takes a refreshing approach to the increasingly arid Texas
music genre, adding to country-folk a revved-up traditional Mexican flair
with what is sure to become Vonne's patented etheral twang."
- Mark Williams | The Bulletin
"Vonne tackles the best of the Lone Star State?s musical heritage, mixing
roadhouse honky- tonk with Mexican-American roots traditions."
- Michael D Clark | Houston Chronicle
"Pay attention, Texas. The land that gave birth to legends as disparate
as Townes and Stevie Ray has birthed what may turn out to be another.
Patricia Vonne can pen a lyric and deliver it with an earnestness."
- David Pilot | RockzillaWorld
"Vonne and her band play a driving brand of rock?n?roll that?s easily
at home in a Texas roadhouse. Influenced by artists ranging from the Cruzados
to Joe Ely to Johnny Reno, Vonne writes and serves up music that?s in
that no-gimmick vein."
- Jim Beal, Jr. | San Antonio Express-News