MEDIA: Click Here to view/download Patricia Vonne's Electronic Press Kit (PDF)
NSIDE Magazine
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Origin Magazine
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Lone Star Music Magazine
Patricia Vonne’s bio states that she was born in San Antonio Texas, one of ten kids in a family that also spawned maverick filmmaker Robert Rodriguez. But don’t believe it. This woman sprang fully grown, Athena style, right out of the seducti ve, twirling dust –devil grooves of Joe Ely’s 1995 Tex -Mex masterpiece, Letter to Laredo. Going back to her 2001 self- titled debut, the Austin- based singer- songwriter showed compelling promise right from the start. But she also came across a little too bold right out of the gate, almost like a caricature of exactly what you’d expect from a castanet-snapping rock ‘n’roll siren weaned on Ely’s flamenco-kissed border ballads to sound like. Experience and refinement would fix that soon enough, though; over the course of subsequent, much stronger albums Guitars and Castanets and Firebird- and multiple tours of Europe- Vonne stuck to her guns and broke that over -the- top stage persona to her will like a wild stallion.
The result , as heard now at the 10- year mark of her recording career, is the exceedingly aptly titled Worth It, a lean and lethal, dangerous beauty of an album that finds Vonne in complete control of not just her powerful voice and flair for sweeping drama, but every aspect of her craft and performance art down to the finest detail. There’s an epic, widescreen scope to the record, but the 10 songs here (three of them sung in Spanish) fly by in just over 35 minutes, with titles like “Cowskulls and Ghostowns” and “Gin and Platonic” to bust out with clichés blazing, and they do- but Vonne struts through both with such cock-sure bravado, even the most cynically inclined will wanna lay down their arms and go along for the thrill ride. Even more irresistible is the sexy swagger of “Cut From the Same Cloth,” which features co-writer Rosie Flores and Ely himself on backing vocals, and the simply terrific “Love is a Bounty,” a Dwight Yoakum-worthy corker of a honky-tonker. According to her bio, that’s the first song she ever wrote. She did right by letting it ripen on the vine, though, because the cool, casual confidence she brings to it here might have been out of her reach a decade ago.
Musically, the whole record (produced by Carl Thiel)is an instrumental treat, with Vonne (acoustic guitar and castanets), her lead guitarist Robert LaRoche, bassist Scott Garber and drummer Dony Wynn joined by guests like Joe Reyes, Darin Murphy and Rick Del Castillo. It’s Del Castillo, naturally, providing the intricate flamenco guitar flourishes on “Fuente Vaqueros” and “El Marinero y La Sirena,” both of which Vonne co-wrote with San Antonio’s much –loved Michael Martin , of the Infidels fame. Granted, here in Texas, where even a legend like Willie Nelson seems game to sing with just about anybody, working with talent of that level doesn’t always equate with being on that level. But four albums into her career, Vonne has more than earned her spurs. Memo to Letter to Laredo: your little girl really is all grown-up now, and she’s kicking ass with the best of the best.
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Vonne's specialty is dusty Tejano ballads and gutsy Rock-en-Español, heard to potent effect on "Fuente Vaqueros" and "El Marinero y La Sirena". But she thunders as thrillingly on the other side of the border, too, and the roadhouse kick of "Cowskulls and Ghostowns" and bar room scorcher "Gin and Platonic" are sizzling nuggets of Texan heartland roots-rock.
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In case you’re not (yet) familiar with Patricia Vonne: she is the sister of acclaimed filmmaker Robert Rodriguez (she starred as ‘Dallas’ in Sin City). Above all, she is a talented and fiery solo musician in her own right.
‘Worth It’ is Vonne’s fourth release and the third album she has recorded with noted Austin producer Carl Thiel. The result is an eclectic mix of beautiful songs comprised of guitar rock, flamenco rock and country – sung both in English as well as in Spanish.
The title track (which is also the opening track) is in the same vein as ‘Cut From The Same Cloth’ – vibrant and melodic in arrangement. ‘Fuente Vaqueros’ (sung in Spanish) could well be a song from the movie ‘Desperado’ – fast-paced, fiery and passionate, it is Flamenco rock n roll at its best and you just want to hear it again and again. A more slow-burning affair is ‘El Marinero y La Sirena’ (‘The Sailor and the Mermaid’) yet, the same Latin passion rings through and the use of castanets is particularly effective here.
Back in English-speaking territory, ‘Cowskulls and Ghostowns’ is full of raw energy, while ‘Love Is A Bounty’ – a brilliant honky-tonk style ditty – seems dedicated to a love gone wrong. While one can relate to Vonne’s lament, the acid-laced lyrics are fun to listen to.
Each song is a perfect vehicle for the artist’s passionate and multi-faceted voice, but none so than the haunting ‘La Lomita de Santa Cruz’ which pays tribute to the faith of Vonne’s great-great-grandfather. Closing track ‘Gin and Platonic’ is another punchy country-rock scorcher with cheeky lyrics that highlights not only what an accomplished artist Patricia Vonne is, but what a talented bunch her musicians are, too. ‘Worth It’ is spirited Tex-Mex music for the world!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ AUSTIN CHRONICLE
Whatever you're expecting from this new Patricia Vonne disc, the title says it all. The statuesque local Latina here rocks a tough stride in her career at a time when she knows her territory better than ever, exuding
a newfound confidence woven tightly within her signature bilingual compositions ("El Marinero y la Sirena", "Cowskulls and Ghostowns").
3 stars.
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The first thing that comes to mind when listening to Patricia Vonne's new CD is the desert. The beautiful, mysterious desert that's punctuated by cantinas and senoritas. It's easy to get lost in Worth It's ambiance.
Vonne sings in both English and Spanish, and her deep sensual voice beckons like that of a gypsy temtress. Spaghetti Western guitars and sexy rythms make for a tasty record, especially when you add in the top-notch backing band and slick production.
As an added bonus, there are cameos by Joe Ely and Rosie Flores. 3 stars.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ LUCID CULTURE Proof that sometimes good things happen to good songwriters. Here in most of the US, Patricia Vonne is ironically best known as an actress who’s made frequent appearances in her brother Robert Rodriguez’s films. But in Europe and her native Texas, she’s a bonafide star. Her latest and fourth cd "Worth It" should help spread the word to those not already in the know. Her unaffectedly throaty wail soars intensely and passionately over rich, lushly interwoven layers of guitars that often evoke great Australian art-rockers the Church, but with a disquieting, often hallucinatory southwestern edge. This album is a showcase not only for Vonne’s voice but for Robert LaRoche’s terrifically anthemic, vibrant rhythm and lead guitar- he’s sort of a border-rock version of Keith Richards – along with Rick Del Castillo on guitars, Scott Garber on bass, Dony Wynn on drums and cameos from Rosie Flores, Joe Ely and songwriter Darin Murphy.
The title track opens the album, an edgy, swinging backbeat janglerock anthem that lends a sympathetic ear to the tormented visions of a friend in crisis. It’s something akin to what the early Pretenders might have sounded like if Chrissie Hynde had grown up in Austin rather than Akron. The no-nonsense, blues-tinged "Cut from the Same Cloth" is a co-write with Flores, a similarly-minded, edgy Tejana. A gothic flamenco rock en Español shuffle, "Fuente Vaqueros" evokes the region in Granada, Spain where Frederico Garcia Lorca famously first saw the light of day.
Vonne maintains the drama and suspense with "Castle Walls", muting the flamenco intensity a little by turning it over to the drums, and then to an incisively bluesy Joe Reyes guitar solo. A new spin on an old myth, El Marinero y La Sirena has Rick Del Castillo’s pointillistic nylon-string guitar mingling hypnotically and eerily with Carl Thiel’s insistent piano. The big concert favorite "Love Is a Bounty" hitches a swaying country beat and lonesome, bucolic Murphy harmonica to biting, bluesy rock; "La Lomita de Santa Cruz", just Vonne’s voice and LaRoche’s reverb-drenched guitar, is a bitter tale of drought and doom.
There’s also a couple of big, terse, tension-driven janglerock anthems along with "Cowskulls and Ghosttowns", a blazing Georgia Satellites-style musclecar rocker gone goth, and the wry, cynically amusing backbeat rock anthem "Gin and Platonic" with her old New York band featuring Kirk Brewster on lead guitar, Scott Yoder on bass and Eddie Zweiback on drums. Yet another great album by one of this era’s finest and most original songwriters in Americana and rock en Español.
AUSTIN CHRONICLE 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 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ NEWHOUSE PUBLISHING 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SAN ANTONIO EXPRESS NEWS 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.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ NY TIMES SYNDICATE 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ HARP 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 español—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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ UNCUT 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ NO DEPRESSION 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ MAVERICK 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SAN ANTONIO CURRENT 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ TEXAS MUSIC MAGAZINE 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." ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ THE IRISH TIMES (ARTS SECTION) PATRICIA VONNE - Whelan's, Dublin, IRELAND 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Patricia Vonne Joins Dan Harvey’s Austin Music Realty
I didn’t even know Patricia Vonne was a Realtor. The Austin-based Latin-rock star has joined Don Harvey’s Austin Music Realty. Since 2003, Harvey’s company has helped music fans with home sales and purchases. Along the way the company has received two “Best of Austin” awards. Now with the high-powered presence of Vonne Austin Music Realty should grow even stronger.
In a statement, Vonne said "I am excited to be part of Austin Music Realty and Stanberry and Associates; it’s the perfect home for me. I enjoy working with other creative agents in a collaborative family atmosphere with a positive professional vibe. I look forward to giving back to our community by bringing my passion for efficient representation and Austin’s excellent quality of life."
From the Hard Pressed Publicity release: "Austin Music Realty agents guide clients through the home-buying & selling process by carefully helping prioritize & navigate a myriad of choices. 'For us, it's not about "selling," it's about supplying our clients with the information necessary to make sound, informed choices. Creative by nature, we think outside the box. We know that listening to and understanding our client’s needs is paramount. And a good musician has to be a good listener. We do our best to make the entire process enjoyable. We love Austin, residential real estate and music.' says Harvey."
If you are a music fan around Austin and need some housing, check out austinmusicrealty.com for more info.
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Patricia Vonne - Worth It
Worth It
Worth It
Patricia Vonne’s New Album Is Worth It and Then Some
Firebird
Firebird
Firebird
(**** 4 stars)
Firebird
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.
Guitars and Castanets
(Top 21)
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.
RANTS and FAVES
Guitars and Castanets
Guitars and Castanets
Guitars and Castanets
-Jim Musser
Guitars and Castanets
live show review
CD Spotlight
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
"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."
live review
Siobhán Long
Austin Music Entertainment
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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