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PRESS, QUOTES AND WORDS OF WISDOM


THE LEFSETZ LETTER
June 2nd, 2009

The Refugees At The Getty

Last Thursday night I went to Staples Center to see Fleetwood Mac.

I was truly excited.  Last time through, they killed.

But this time…it was a dash for cash.  Lacking the balance of the pristine Christine McVie, we were left with guitar solos and Stevie Nicks’ desire to be twenty five forever.

It’s a construct.  We won’t admit the band is over the hill if we don’t have to admit that we too are aged, that our bodies are sagging, that we’ve achieved only a fraction of our hopes and dreams.  We pay a fortune to be brought back to what once was.  But it can never be again.

Last time through, Fleetwood Mac Hoovered up every last dollar.  Played some markets three times.  So, what was the incentive to go to the show this year?  This a case of mismanagement.  Give us a marketing hook, play along with us.  Can’t they be promoting SOMETHING?  Can’t there be a story?  Of course, no one cares about an entire new album.  But can’t you give us A SINGLE?  How hard would it be for this band to go into the studio and cut a track?  If it’s creatively bankrupt it could even do a cover.  Hell, isn’t the best Stevie Nicks song ever a Tom Petty tune?

And I saw TP backstage.  It was a cornucopia of stars.  But although Frasier Crane was very friendly, the brush with greatness that touched me most was my encounter with Perez Hilton.  He was coming right towards me, I’d seen that he’d recently signed up for my Twitter feed.  What the hell, I’ll introduce myself.

And that’s when Perez said he’d signed up for my feed.  THAT’S WHY I STOPPED YOU!

But what stunned me was how NORMAL Mario Lavendeira was.  I expected a bit of flamboyance, a man detached from the everyday world.  But Perez had his feet firmly planted.  So we had a discussion.  I asked him about that ad he had on his blog last week, the one that was smack dab in the middle of the page, that was made to look like a story.  Perez told me he had no idea what I was talking about.  He had people who placed the ads for him!  And he’d whore himself out to ANYONE!

That was insightful.  So different from the older generation.  And it’s working for him.

Anyway, our seats were PHENOMENAL!  I was so excited.  But Fleetwood Mac was a bit flat.  But the rhythm section was PHENOMENAL!  Fleetwood and McVie were rock solid, a thundering bottom sitting under Lindsey Buckingham’s exquisite leads.  If only they played Bonnaroo as a blues band instead of reprising these aged hits.  "Oh Well" was fantastic.  Made one yearn for the days of Peter Green.  Lindsey’s got the chops.  Why is he working out for these fans who are coming for nostalgia, not music?  The younger generation still cares.  Believe me, if these three, the core, Mick, McVie and Lindsey, played the blues at festivals across this great nation of ours, they’d be seen as vital again.  Instead, no one under the age of twenty five was in attendance. Unless dragged there by their parents.

And that’s the ultimate question…  Are you a musician, or a star?

I’ve wondered for eons why Stevie Nicks dances like Elaine on "Seinfeld".  Now I know.  Her goddamn heels are so high that if she moves like a normal person, instead of with that arm shrug thing, SHE’LL FALL OVER!

It’s sad.  So she’s short.  SO FUCKING WHAT!  In a nation where we’ve got a black President, you’re still hiding your perceived shortcomings?  The future is about OWNING THEM!

Truly, I’d love to tell you Fleetwood Mac were great.  But it ended up being creepy.  Like watching a classic movie.  Except for the instrumental passages, the show didn’t breathe, it lacked life.

But the Refugees were FULL OF LIFE at the Getty Saturday night.

It’s a supergroup of never-beens.  Wendy Waldman, Cindy Bullens and Deborah Holland.  All with notches in their belts, but none of them household words.  But they decided to form a band.  To join forces to create something NEW!

They’re not trading on the old days, they’ve written new songs, THEY’RE STILL TRYING!  That’s the problem with so many of the has-beens, they’ve given up.  They don’t want to come down off their perch, they don’t want to take a risk.

It was a free show.  But that didn’t mean the Refugees didn’t fill the hall, didn’t get a standing ovation.  The major labels said the Internet would KILL music.  Just the opposite, technology allows everyone to make music.  But it’s extremely hard to break through.  And being musicians, I’m not sure the Refugees will.  They need a business mind.  Someone to get them a gig on Lifetime.  Or, as they desire, the cover of the AARP magazine.  Because if the boomers just experienced the Refugees, they could become the female Jimmy Buffett.

Sure, it’s about the songs.  But it’s also about the vibe.  It’s about the SHOW!

A show isn’t just standing up there playing calcified hits.  A show is its own entity, something BEYOND the record.  None of the Refugees songs will become hits.  Where would anybody play them?  But they service the act well.  Yet the glue that seals the deal is the stories in between.  About hot flashes, about post-menopausal Barbies, Ken with a combover.  There’s humor, but there’s also truth.

That’s what’s lacking in Fleetwood Mac, truth.  Stevie Nicks covers up her avoirdupois.  The act is opaque, there’s no penetration.  These are stars.  You get no access.  In an era where Perez reveals every facet of his personality and uncovers your warts too.

How about Stevie and Lindsey speaking about their animosity?  How about Christine McVie beamed in via satellite?  How about the texting on the side screens featured at a Taylor Swift show?

Image is no longer everything.  Because the truth outs.

The truth is Fleetwood Mac is creatively bankrupt, and won’t take a chance for fear of alienating their paying fans.

The truth is musicians even less well-known than the Refugees are packing up their gear in vans, starting at the grass roots level.  Will they and the Refugees break through?  I DON’T KNOW!  But is that really what it’s about?  Or is it about playing, the experience of being on the road, the band sharing one hotel room.

The apex has collapsed.  No one sells ten million records anymore.  The superstars are so worried, they’re just protecting what they once had and will never have again.  We’re starting over.  There are no rules.  You don’t need a hit, because your audience will probably never hear it on the outlets that make it so.  You need to win hearts and minds.  Middlemen are irrelevant.

Everybody’s reunited so many times that we’ve got no desire to see almost anybody get on stage and play their hits.  This business has been propped up by the so-called superstars for far too long.  Now it’s imploding.  THANK GOD!


CD REVIEW: The Refugees break free with ‘Unbound’
Gazette Online
Apr 2, 2009

Cindy Bullens, Deborah Holland and Wendy Waldman carved out terrific solo music careers. But when they joined forces in 2007 as The Refugees, they found a new home in harmony.

Their debut CD, “Unbound,” released in January, weaves harmonies as tight and elegant as fine linen — easy to dress up for the a cappella sophistication of “Save the Best for Last” and easy to dress down for a kickin’ night of “Fishin’ in the Dark.

Their tapestry of sound blends folk, country, roots, blues and rock, sure to please fans of each genre.

With this pedigree, you can’t go wrong: Bullens got her start as a backup singer for Elton John and sang on the best-selling “Grease” soundtrack; Holland was the lead singer/songwriter for the underground band Animal Logic; and Waldman wrote “Save the Best for Last,” which became a huge hit for Vanessa Williams. It’s even prettier when The Refugees wrap their harmonies around the melody.

Every track on the CD is exquisite for different reasons. The bouncy title track is the harbinger of things to come, from the vocals and the story to the instrumentals, which the women play themselves, from guitars, dobro, bass and mandolin to harmonica, accordion and percussion.

Sheer beauty is the hallmark of “You Plant Your Fields,” which should resonate especially well at their Iowa debut concert Friday at CSPS, 1103 Third St. SE, Cedar Rapids.

Walking bass adds a bluesy feel to the flirty “Stickin’ With My Baby’s Love,” and the lyrics to “The Violin Song” are laugh-out-loud funny for anyone forced to take music lessons as a child.

And “All My Angels” soars with a comforting, hymnlike reverence so easy to embrace.

Playing off the title, “I Gotta Believe in Something,” I gotta believe this trio will blow the roof off CSPS.


Saturday our friends The Refugees played a magical set that for me was certainly in the top five of any show I have ever had here.  Amazing is all I can say, it was that good.  Cindy Bullens, Wendy Waldman and Deborah Holland are on the top level in the folk rock world all alone, but together they are the best band I have heard since Kane Welch Kaplin put their heads together. This show was not pop, not rock, not folk, but a little of it all, highlighted by some of the most majestic harmonies I have ever heard.  They will be back I am sure.

-- Greg Johnson, owner Blue Door. Oklahoma City
Spring, 2009

Don't be too skeptical about a "supergroup" comprised of Cindy Bullens, Deborah Holland and Wendy Waldman: give "Unbound" a listen. All there members have rich musical resumes spanning rock, folk, jazz and blues, so expect a wondrous blend of melodic vocals and superior musicianship, especially if you're a fan of organic music. Leaving their egos behind for the greater musical good, their angelic voices are woven into the fabric of a dozen uplifting songs.

The title tune, "Unbound," should become the a staple in the annals of bluegrass music. The lively mandolin rhythm brings the likes of Bill Monroe and the New Lost City Ramblers to mind. "Jellico Highway" is sure to become one of those classic American anthems, boasting a melodic refrain and the compelling story of a lonely journey from Kentucky to Tennessee, recalling a lost love. On the "Violin Song," Holland offers blues with a unique slant, singing about a child who promised to "eat my broccoli and never misbehave" if only the violin lessons would stop. American music devotees should play close attention to this first effort from the Refugees, who have come up with an album that deserves to win over legions of followers.

- Howard B. Leibowitz

Sing Out! • Vol. 52 #3 • Autumn 2008

The Refugees

Unbound

The Refugees are Cindy Bullins, Wendy Waldman and Deborah Holland, three excellent songwriters with long, impressive resumes. They sing and harmonize together marvelously.And between them they play all the accompaniment on this, their first album together. It doesn’t hurt that Wendy Waldman has long been a favored song- writer’s record producer based in Nashville. Her studio savvy is certainly in play on Unbound.

The twelve songs are a strong lot. No surprise there given the three women at work here. The three person cowrite “Unbound” opens the set, a perfect choice for a first impression as the three each get a lead vocal part, and ensemble they sing heavenly harmony here. Wendy fires off some keen lead guitar, too. Cindy’s “Jellico Highway” takes place along the Tennessee- Kentucky border. It’s a “damn I really screwed up” song with an irresistibly irresistible melody and singalong chorus. Wendy wrote “Fishin’ in the Dark” with Jim Photoglo as an upbeat digging the moment song. “(There’s a) Spy in the House of Love” dates from Deborah’s days with Stewart Copeland and Stanley Clarke in Animal Logic back in the ’80s. It was my favorite AL song, and it is really a delight to hear Deborah resurrect that one.

And the delights keep coming song after song, each a gem. Deborah’s hilarious “Violin Song” deserves special merit as she recalls fighting her Mom over how little she liked having to take violin lessons. The Refugees sing wondrous three part harmony, much of it a capella, during the finale “Save the Best for Last,” a strong argument for truth in presentation. It is a lovely, wondrous thing when a plan works, and The Refugees work together gorgeously. With three terrific strong voiced songwriters whose voices soar when they blend, how could you go wrong? Answer: you can’t. Very strongly recommended.

-- Michael Tearson


"Unbound"
Wabuho Records

It’s no wonder that the Refugees, a folk “supergroup” formed by Wendy Waldman, Deborah Holland and Cindy Bullens, has been likened to a fe-male version of Crosby, Stills & Nash. On Unbound, the group’s debut CD, stirring lead vocals and impeccable harmonies rule the roost. All three women have stellar track records — Waldman is a hit songwriter and an accomplished producer; Holland has released several solo albums and scored songs for films and television; Bullens got her start as a backing vocalist for Elton John and has won Grammys for her recording work.

Each Refugee is a strong song- writer with a distinct personality, and their collaboration yields a natural, eclectic-yet-accessible blend of music. The women play guitar, accordion, Dobro, mandolin, harmonica, dulcimer, bass and percussion, and, although they are an acoustic group, they can rock. They also bring a welcome sense of humor to the mix. Visit their website and check out the live performance video.

When it comes to vocals, the Refugees are a collective powerhouse. Together, they lay down sweet harmony beds that bring to mind the Eagles (listen to “Jellico Highway”), yet each one is also a commanding and expressive lead singer. Some- times they share the lead vocal spot, masterfully weaving a multi-textured vocal tapestry.

One of my favorite vocal moments lives in the title cut. Whoever nails that note to the sky at the end of the chorus absolutely slays me. That harmony line is a hook I will always eagerly anticipate.

“Stickin’ With my Baby’s Love” is a fun, upbeat tune. It’s sexy, ripe and ready for some mainstream country artist to cover and send shooting up the charts. With chops like theirs, you don’t need electric guitars and drums to rock a solid groove.

There are some familiar songs on Unbound, such as Waldman’s sultry and rollicking classic, “Fishin’ in the Dark,” which was originally covered by the Nitty Gritty Dirt Band. The inclusion of what is probably Waldman’s best-known song, “Save the Best for Last,” was a surprise for me. The stunning three-part a cappella introduction drew me in, and I found myself appreciating the intimate quality of the lyrics more than I ever did on hearing Vanessa Williams’ hit version.

Deborah Holland’s “(There’s a) Spy in the House of Love,” has an intriguing lyric, and a soaring, compel- ling melody. And “The Violin Song,” sung from the viewpoint of a child being forced to take violin lessons, is hilarious. Cindy Bullens’ harmonica adds appropriate wails and hiccups of desperation, while Holland’s character pleads and tries to bargain with her mom.

“All My Angels” is simply beautiful. Bullens’ lead vocal is husky and emotive, and when you add the killer harmonies of her bandmates, it’s a knockout combination. What I’m about to say is a cliché, but it can’t be helped: I am already looking forward to the next CD from the Refugees. Their debut is that good.

Wood and Steel is Taylor Guitar's magazine
-- Andy Robinson


The harmonies are stunning throughout and resonate particularly during "I Gotta Believe in Something" -- I love the vocal arrangement.  The witty grit of "Stickin' With My Baby's Love" makes for great ear candy as well, and, the familiar yet refreshing arrangement of "Save the Best for Last" is like coming home to an old friend while seeking refuge after a long day's work.  Bravo!!

-- Anne Deck, WUKY


"Unbound" was picked as one of the "Best Albums of 2008" by Norm Mast and Al Kniola, hosts of The Back Porch  on 88.1 WVPE Public Radio, South Bend & Elkhart, IN

WVPE's "The Back Porch Show" named The Refugees "Unbound" as one of the best of 2008.

The Refugees were named "Artist of the month" on WRPS - Web Radio Puget Sound and their debut CD, "Unbound" is featured on their website.


"The Refugees offer up a terrific combination of engaging, passionate, and poetic songwriting, high-caliber musicianship, and gorgeous vocals. The combined musical pedigree of Cindy Bullens, Deborah Holland, and Wendy Waldman is unparalleled. Don't even think about missing an opportunity to catch them in concert."

-- Anil Prasad from Innerviews, Guitar Player and Bass Player

The Refugees' first CD, "Unbound" picked as one of the "Best Albums of 2008" by Norm Mast and Al Kniola, hosts of The Back Porch (Sundays, 7-11 pm) on 88.1 WVPE Public Radio, South Bend & Elkhart, IN

"Heavenly harmonies – Celestial singing. Sounds of stars in the making, with your songs as safe haven. Terrific."

-- Michael Nesmith. Owner of Videoranch, formerly of The Monkees

"Like the name implies, The Refugees have seen a lot and survived... Listen to the disc and you'll know how- through raw talent!"

-- Rob Reinhart, Producer of Acoustic Café

"The Refugees have a spirt and light that captures your attention right from the downbeat until they've left the building. These are not just 3 very talented women, they are great entertainers" --

Sleepy John Sandidge, KPIG Radio

"The Refugees have something special. They can perform those harmonies that Crosby, Stills, Nash & Young could not nail at Woodstock. They can pick their guitars. Hell, Deborah even played an accordion, Cindy a mandolin. And the material resonates"

-- Bob Lefsetz, the Lefsetz Letter

AUGUSTA, GA - The backwoods behind the paved roads open in a fresh new light with The Refugees’ release of "Unbound" coming in January 2009. Built upon a smooth, mountain-like blend of modern country and classic folk sounds, the birth of this new female super group finds a sweet spot in the down home vision it offers.  Composed of acclaimed solo artists Cindy Bullens, Deborah Holland and Wendy Waldman, The Refugees formed in 2007 in search of a new sound
created by blending their distinct talents, voices and styles. With more than three decades in the music business, 19 solo albums and many Grammy nominations, The Refugees return in a new
form combining experienced precision with passionate experimentation. The album itself is a masterpiece of Americana as a whole that should find room in any playlist, but particular songs stand out above the field of country grass they create in the melodies throughout. These songs include the smashing thrills of “Unbound” speaking to the desires in the deepest heart, the sweet soulful croon of “Stickin’ with my Baby’s Love,” and the smooth, sad, sweet tones of “Box of Broken Hearts.” Furthermore, within the haunting echo of “I Gotta Believe in Something,” listeners find a pathway into the emotional rollercoaster and passionate display characterized by the depths of connection in lifetimes spent in search of meaning, feeling, and being. Within this world of folk splendor, The Refugees offer an example of escape from the isolation of daily routines and a return to feeling and meaning within the simpler places we may all remember in our most sincere moments.

-- J. EDWARD SUMERAU - Augusta Metro Spirit (Ga)

“The Refugees: Wow, what a great strength-in-numbers bill this is, with three female singer/songwriters who've each putout very fine albums in their time. We're talking Wendy Waldman (a sensitive, piano-pop songcrafter in the league with Joni Mitchell, Laura Nyro and Karla Bonoff), Deborah Holland (for several years the voice of the jazzy, post-Police supergroup Animal Logic with Stewart Copeland, Andy Summers and Stanley Clarke, and now a professor at Cal State), and the fire-burning Cyndi Bullens.”

-- Philadelphia Daily News