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<div><span>Normally when I discover a band for the first time, I listen to their album first, then go see them live. In the case of </span><a href="kgandthegirls"><span>Katy Guillen & The Girls’</span></a><span> new release, the situation's been reversed. I saw them live a couple of times before the album was released, so I was interested to hear if the record was going to capture the ferocity of their live performances. I have to confess that my hearing is not in the best of shape, and, due to a poor sound mix at what shall be an unnamed Lawrence venue, I never got to hear the words or even the melodies properly live at the most recent concert I attended. But upon hearing the self-titled LP, it’s nice to hear that Guillen can write literate lyrics to these songs I've heard played out. </span></div>
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<div><span>The album opener, "Don't Get Bitter," hearkens back to the sound and feel of the Beatles' "Taxman," with Claire Adams' bass introducing the song. It's short, catchy, and lasts exactly as long as it should. If there were a single release off this album, this would be it. </span></div>
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<div><span>This record is no-frills. It's the band pretty much as you hear them live, with the mix capturing a live in-studio sound. What strikes me listening to this record is that Katy and the Girls are not strictly a blues band. There's certainly an infusion of the blues in what they do, but, to my ears, they hearken back to some of the late ‘60s-early ‘70s hard rock bands like Mountain and Free, but with better lyrics and songs. I also hear some White Stripes in there somewhere. The melodies and harmonies are accentuated and they help blend with the powerful playing. </span></div>
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<div><span>Katy Guillen, Claire Adams, and <a href="http://kansascity.thedelimagazine.com/10163/on-beat-stephanie-williams">Stephanie Williams</a> fill up a lot of space in these songs. It's obvious they are all very well in sync and have that great intuitive blend that comes from playing lots of live gigs together. I also like the changes in some of the songs, which go in directions you don't expect, like "Woke Up In Spain," which switches tempo adroitly. </span></div>
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<div><span>The absolute masterpiece of this album is the last song, “Earth Angel.” It's the longest tune on the album, but it doesn't feel long. It starts out with Guillen’s dirty-sounding guitar intro, reminiscent of Jimi Hendrix's "Little Wing," and builds in intensity as it moves along. Guillen takes one hell of a solo during this song. It's obvious from hearing this record that she is an excellent guitarist but never overplays during the songs. But when the song calls for a lengthy solo, like "Earth Angel," sparks fly. The rest of the band is equally as adept. Adams’ bass lines are nimble and fit right in place with Williams’ active drum work. It's a pleasure to hear a band that obviously loves to play together rolling through these songs. The album’s producer (Duane Trower at <a href="https://www.facebook.com/pages/Weights-and-Measures-Soundlab/124412430956864">Weights & Measures Soundlab</a>) captures the clarity of the music as well as the power of a live performance. </span></div>
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<p><b><span>--Barry Lee</span></b><span><br />
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