What is the secret formula that makes Ché Zuro?
Could there be more than one brew in the mix that makes the whole of her talent?
Let's start from scratch.
Born in Pittsburgh, Ché sprouted up in a family for whom music was a second language. It was a spontaneous affair; where one family might erupt in a squabble, Ché's clan would break out with a song. But this is where any notion of von Trappism comes to an end. Hers was not a sheltered life and knowing that she could carry a tune, the young singer packed the beat in her bags and ran with it.
We now have ingredients 1 and 2: Musical Intuition and Incentive.
Arriving in LA, Ché began to hone her talents with wild girl, big hair bands like Puss 'n Boots. In the colorful, fast and fluid tradition of Lotus Land, 100% female-no-chaser musical line ups, Ché took to rock 'n roll as a natural.
Add third ingredient: Edge.
In 1989 Ché caught the attention of Charlie Sexton who hired her on to power up his band with keyboards, acoustic guitar and vocals. Successful tours culminated with the live CD, "King Elvis." She went on to form her own band, Trinity Street, wherein her on-going collaboration with Tisa Adamson was conceived (Their co-penned song, "Blue Skies" received an honorable mention in the Billboard Song Writing Contest as did their lament, "Daddy Had to Go to Heaven" in the first annual John Lennon Song Writing Contest). Add ingredients 4 and 5: Experience and Coconspirators like Tisa Adamson.
It's time to start mixing all the goods together.
Having performed essentially as a solo artist, in 1997 Ché plugged herself into her home studio and cooked up 10,000 Jalama Road, an entirely self performed, produced and packaged gem of a CD. Following this well received disc and her receiving the Millpond Spirit Award, a second project, Welcome Home, was jointly produced with Bernie Larson (Cry on Que, Melissa Etheridge, El Rayo-X) and stands as a classic indie. Welcome Home received praise across the boards from fans to college radio and the press. Ché was also featured in the LA Weekly's "Scoring the Clubs."
With all these accomplishments, one would think the recipe is complete, but no, the kettle keeps stirring and songs keep getting better. Ché's latest CD, a live send up with Tisa Adamson, was recorded at Hallenbeck's in North Hollywood and bears the eloquently direct title, Soak. Alas, it could be argued that in mixing all the above elements we have invented a perpetual music machine.
Yes, perpetual and spontaneous Ché is, but a machine she is not.
Through song, Ché Zuro proves that the most powerful ingredient of music will always be natural.
-Paul Perner
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"Orphans" is a collection of demos and outtakes from a solo Ché or from her various band projects over the years starting with the song "Pack of Lies" recorded with Tisa Adamson and their band Trinity Street. (This tune also appears on the Rockrgrl Magazine Discoveries 2004 CD along with a number of other female fronted bands and solo artists.) This 4th Youghiogheny River Records release also includes a few outtakes from the "Welcome Home" CD which were requested by fans to be put out in record form, as well as the song "No Turning Back" from the sci-fi film Critters in which one can hear Ché sing and play everything for the minute plus it is in the movie!
For the die-hard Ché Zuro fan, this is the ultimate CD!
There is more information about each song on this CD at www.checheche.com/orphans.html, including lyrics, band info and a photo from the era in which the song was recorded!
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REVIEW:
From The McKeesport Daily News, PA, October 2003
By David Sallinger
Daily News Entertainment Editor
In order to review an album fairly, you have to listen to it a few times for it all to sink in, to give minutes-long songs that sometimes took weeks to produce a chance to prove themselves.
Usually, the first hearing occurs when I'm doing something else, letting the music be a kind of background sound in order for its textures to be sensed. Sometimes one of the songs jumps out during that first hearing, making you stop what you're doing to listen.
That's what happened with the first track, "Pack of Lies," one of the number of keepers on Ché Zuro's "Orphans," described as a "collection of misplaced recordings" (some of which had been misplaced only after having been heard on an earlier album).
Good thing the Elizabeth Twp. native (now Californian) found them. It's a strong amalgamation of styles and songwriting.
"Pack of Lies" catches the ear in part because of its insistent "Black is Black" (a favorite rockin' oldie) rhythm. Catchy "Telstar"-like guitar rhythm also draws you into "Someday," in which, though we hesitate to say it, Ché lets her Blondie roots show.
But the "Orphan" destined for a permanent home is "No Turning Back" (her song used in the film "Critters," which appears here twice), the first version proves that Ché can rock and wail with the best of them. The radio-friendly track has all its hooks in place, underpinned with a deeply textured production. The reprised version feels more restrained.
Because it's Halloween, it's nice to report Ché had a "Bad Dream," because it resulted in a spooky number, strong vocals to match the equally strong instrumentation, with nice harmonic moments. A bit of spookiness also finds its way into "Charlotte," too. Its keyboard is like something you might hear in a mysterious carnival. And while we're in the ghostly groove, it's almost as if Ché were channeling the spirit of Dusty Springfield when she sang "Let Me."
To prove that although she lives on that other coast but still can be at home down south at the Opry, Ché goes Nashvillian with "There You Go," which even includes the beginnings of a yodel. She gives soft jazzy rock a try with "Heart on the Line" and goes all poppish with "Stay."
Working the sadder side of the microphone, Ché discovers "Silence Grows," though it's not a quiet song by any means. Two other "Orphans" separated at birth are "I Saw You Crying" and its alternate version, the first more a song to comfort, the latter more straightforward. "Where's The Fire?" hooks the listener with the refrain.
And a favorite from an earlier Ché package, "Gray," paws its way into the mix, phrased in such a way that you might not suspect who she's actually singing about.
We also get a bit of live Zuro with "Rainy Day," a song written when a downpour kept a crowd away and the performers needed something to keep them busy. Crisply recorded, it puts her guitar abilities right up front.
Ché's earlier albums all have been laudable, but "Orphans" feels more like a break-out product, something to argue all the things she can do, and do well. Consider it a sampler, one that can prove to the marketplace that it's her turn.
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