The group has a sound that literally screams L.A. even though they are from Pennsylvania. I guess you don't have to hang in Tinseltown to sing about broken dreams but Browne's viewpoint as he sings "Ida Lupino" is that of a man who can easily comment on someone else's wasted life because he's walking the same street. The song really gives no clue as to why the famed actress and director is referenced in the title; maybe it's just because the song comes off as being very cinematic as Browne's throaty vocals ebb and flow on a bed of sustained guitar notes and slide guitar. Whatever the deal, it's clear from the get-go that Browne has something special going on and this five-song E.P. doles out just enough to show that his talents are consistent.

There are no happy songs here; "Los Senorita" speaks of "my bloody senorita" and "Her Favorite Sweater" turns out to be sanguinary too. Browne's ability to pull stories from the dark side and tell them in a witty but not wordy way begs for comparison to some of the best work of Warren Zevon and "Of Human Bondage" is particularly Zevon-esque. Most of this E.P. can be previewed at the band's MySpace page and it is well worth clicking over for a listen.

As an added bonus, here is a preview of the upcoming Andy Browne Trio Day in Rock week where Andy gives us the stories behind the songs. If Kevin didn't sell you on these tracks, then Andy should seal the deal!

1)"Virginia Please"
The concept is fairly simple with a somewhat convoluted backdrop. The bass player (Tim Nielson) from my previous band (The Nightporters) – who also plays with Drivin' N' Cryin' – his ex-girlfriend's best friend was roaming thru "Lost Angeles" while I was running wild out there. I would see this "Virginia" at all the swinging clubs that I was trolling thru at the time. She was always the looker. She seemed somewhat distant and reserved.

After a few conversations, knowing there wasn't a whole lotta substance to the package, I did what most with a lick of common sense would do: kept to the 5-foot space rule. Anyway, this song always sticks out to our audience as a commercial favorite – as she seemed to be. I am kinda glad I never followed thru with her, as I probably would have been very disappointed or possibly soiled. Kinda like Christmas – the wait being better than the end result. I will always dig her for inspiring this tune. She's probably now teaching at Yale or Harvard, while all I saw was this party freak blonde Lost Angelene angel.

2)"Ida Lupino"
The inspiration came from and old black and white "Twilight Zone" that I was blankly staring at during the time of this song's conception. Mrs. Lupino, being one of the stronger women in Hollywood's history, was a perfect foil for this illuminating and atmospheric three and half minute homage.

"All your lights and your halo have been pawned or thrown away, all your life you've been waiting for a moment that's just been washed away" is life kinda just taking its toll. A bit haunting but still reserved. A personal fave. This song will be on Magnet magazine's CD sampler #1 due early this year.

3) "Of Human Bondage"
This first verse: "Put your blinders on, turn the faders down, understand the primate speaks as we are tied and bound/ She's a filthy whore, but so beautiful, her sister claims she's the giver of Tibetan law" is an invitation to our current political situation, maybe just a bit of psycho-double-babble on the subject of celebrity in this day and age of the 15-minute love shots.

Chorus lines: "We are broken toys in altered states wanting more and more as we waste away / we are caribou on a open plain, watching every shot we hear from the driving range / we are particles of shattered glass we are remnants of some cosmic blast." It's hoping for some last vestige of faith and truth in these otherwise questionable days of
trillion-dollar wars and prepackaged game-show rock stars. We are what we is, and as a great poet once said, "Why can't we all just be getting along?"

4) "Los Senorita"
Lyrically, this little ditty managed to piss everyone off in the studio at the time, as the wrath of criticism came down on me for this obviously bad Spanish grammar (as those who don't write ... critique). I told them to f*** off. It's my Mexicali imagination to run with. I speak what I spoked, and hear what I heard. Not really one for perfect vernacular. It's the thought that counts. It's a fairly simple concept, with the Spanish little girl lost, alone and hurting anyone near and dear.

5) "Sacred Cow"
I was told on first play, "It may alienate a certain religious sect." It's written as a general rule to stay away from politics and religion … but keeping my big mouth shut has never been one of my stronger points. I was dating a gal from Edmonton, Canada, who to me always seemed pure as the Aurora Borealis. After the break, nothing seemed to matter for a very, very long time. (I'm sure we have all had a taste). But the thing was deep and pure and good, and everything else in my immediate surrounding (i.e.: Los Angeles) was filth, grime plastic and cheap.