The Trust | The Trust

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United States - Kentucky

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Rock: 70's Rock Rock: Adult Alternative Pop/Rock Moods: Featuring Guitar
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The Trust

by The Trust

The Trust is packed full of 70’s after-school-special soul rock.
Genre: Rock: 70's Rock
Release Date: 

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1. All The Same
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4:39 $0.99
2. Siren
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4:13 $0.99
3. Head
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4:43 $0.99
4. Exit Signs
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3:38 $0.99
5. Hello?
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1:11 album only
6. Telemarketing Song
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3:40 $0.99
7. Pair of Shoes
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4:56 $0.99
8. Something
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4:51 $0.99
9. Wrong or Right
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4:57 $0.99
10. Inside Out
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5:36 $0.99
11. Mid City Life
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4:19 $0.99
12. Front Door
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4:29 $0.99
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ABOUT THIS ALBUM


Album Notes
As long as I have known Herbie Hinkle, I knew in the back of my head this would one day come. Folks... Herbie. Is. Dead.
As you may or may not know, Herbie had been sick for quite some time. Last week I got the call from Herb's caregivers that he had passed. Due to the nature of the subject and the reality of "What next?" it has taken some time for me to clearly collect my thoughts, thus resulting in the delay of this news.

From the moment I first met the guy, his pale skin reeked of death... actually, it was probably 90% b.o., 5% gangrene from his left hand, and 5% Old Spice. (That still don't make it right!) When I first set foot in his basement, the empty pill bottles, rubber bands, whisky crates, and piles of used gauze sprinkled with an occasional onion skin, clued me in to Herbie's dire situation, and my own cruel whore fate... months and months of tortuous, somewhat cryptic, musical information being crammed into my head, forcing me to ultimately become... A PROFESSIONAL MUSICIAN!

For over three years, The Herbie Hinkle Ensemble has been playing Herb's sung melodies. If you've had the honor of wittnessing the rare appearance of Herbie at a show, you are one of the lucky ones. As ill as he was, it was a wonder he ever made it out at all. (Hence our numerous excuses for his absences.)

The gradually worsening condition of the founder of the band left us confused and frustrated; we knew we were coming to a turning point and a very important decision. The time to make that decision came on Saturday, shortly after the death of Pope John Paul II (which was ironic, because the Pope WAS morally opposed to poisoning stray dogs in the park, unlike Herbie). We knew that Herbie would want us to continue in his absence, but ultimately we were too grief-stricken to move forward with the original band name. Together, we decided to honor Herb's memory by dutifully renaming the band The Hinkle Family Trust... or uh, The Trust.

See also http://cdbaby.com/cd/herbie


Reviews


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J.R. Oliver - Ear Candy Magazine


The Trust,"The Trust" (Indie Release)
The Trust is a trio made up of one Jon Beazlie on his amazingly funky guitar, one Joe Wheeler bringing the equally funky bottom end and one Jeremy Smith laying down a huge fatback beat on the drums. If the Counting Crows and Mothers Finest had a baby they would name it The Trust. I really found Beazlies guitar work enjoyable. He has a real funky vibe but he can channel Stevie Ray Vaughn as well as Slowhand himself at times. My favorite tracks are All The Same, Telemarketing Song and the down and dirty blues of Mid City Life.

- J-Sin - Smother Magazine


Alternative pop from Louisville that is ripped from the songbooks of John Mayer and Jack Johnson, The Trust glaze you over with funky blues-tinged guitar. Packed to the hilt with glitzy ‘70’s era keyboards and nice rock-n-roll funk, this band used to be called The Herbie Hinkle Ensemble which the band is honoring the passing of their founding member with this new release. This self- titled album breathes the same funk that your parents 45’s boasted. Nice.

Tim Roberts - Louisville Music News


Rock for the Twilight Hours

The Trust (Independent)

The Trust

Even though we rank somewhere between paparazzi photographers and Three-Card Monte dealers in the chain of Life's Important People, we music critics sometimes get to do some cool things. Besides being able to drink beer while listening to music and trying to cram together words that have some vague relevance to the recording we're writing about, we get to create off-the-cuff subgenres, custom-made for whatever we're listening to at the time. It's a handy device we learned in Critic's School to avoid having to actually make comparisons and contrasts with other styles of music, to enhance a critical understanding of the aural challenges an artist presents, to guide the listener through all the seductive nuances in an entire catalog of recordings or in a single eight-bar phrase.

In short, we can do it because we sometimes don't like to work too hard.

However, in listening to the self-titled debut release from Louisville's The Trust, we can, with a clean conscience and cleaner ears, create a new subgenre and not feel like we're cheating the listeners. Let's call their new subgenre "8 p.m. Rock," with a sound that's twilighted between the sunny afternoon energy of power pop and the sultry darkness of heavy rock or even blues.

Formerly known as the Herbie Hinkle Ensemble, the three members of that band reformed as The Trust after Hinkle's "mysterious death." Still guided by Hinkle's spirit, the trio of Jon Beazlie on guitars and lead vocals, Joe Wheeler on bass and Jeremy Smith on drums has crafted a dozen tunes that firmly reside in that 8 p.m. musical time slot with guitar hooks, drumming and vocal melodies that straddle between energetic and edgy, between bouncy and smoking hot.

What ultimately makes this recording memorable isn't any one song or style of playing, but rather the sublime touches added to several of the tracks: Smith's syncopated drum work on the opening track "All the Same," the dreamy vibrato of the final note on "Siren," the riff borrowed from "Telemarketing Song" that is used on the preceding track "Hello," which also contains samples from Beazlie's answering machine and a keyboard playing the archetypal ten-note "circus" song (the one that goes la-dat-datdatdatdatdat-da-da-dum), the funk-rooted guitar opening and key changes of "Pair of Shoes."

However, one track that deserves special mention is "Mid City Life," a bluesy piece told in the first-person by a persona representing the scraggly old men who hang out inside the east entrance of Louisville's Mid City Mall on Bardstown Road (by the inside entrance to what used to be the Winn-Dixie). The persona's life is hard: thrown out by his woman, begging for change or a smoke, drinking Listerine to get a nauseating buzz, losing his cardboard box home and the stash of leftover Subway bread he had found. It is a sympathetic portrayal, but the blues growl behind it keeps it from slipping into the sugared realm of a family sitcom's Very Special Episode ("Tonight on Family House Matters, Davey goes to the store with Sally and meets a special friend who wears Kleenex boxes for shoes and smells like urine and something from great-grandma's medicine cabinet.").

With all its subtleties and a sound that fits nicely between pop and full-tilt rock, the debut from The Trust is like a glass of fine sherry: perfect for after-dinner lounging, but it also gets you ready for the harder stuff that comes later.

Get the groove at www.thetrustmusic.com.

Tinderbox Music


The Trust The Trust
Produced by the Trust and Nate Robinson
Recorded by Jon Beazlie at Jons house and
Bobbys house
Mixed and Mastered by Nate Robinson at Nates house

Theres something of a southern rock feel to this laid-back rock album that is highly refreshing in a sea of headache-causing crap. Its like a fusion of grungy rock vocals paired with the soothing beats that sound sunshiny and 70s-inspired. Some of the songs will succeed in throwing the listener into a trippy, psychedelic mood from the distorted guitars and constant cymbal-banging that accompany the slightly whiney vocals from Jon Beazlie.

Although the 70s sound is easily accomplished throughout the album, there are a couple of other genres that can be heard as well. This is a little hard to pin down precisely because blues-sounding guitars are thrown into the mix as well towards the end of the track list in Wrong or Right and Mid City Life. The Trust uses a slide guitar, which should immediately tell you the CDs going to have a blues sound, especially since all great blues bands usually utilize that instrument to effect the ultimate impact.

The Trust should find itself sitting in your CD player when you want to spin the soundtrack for your annual tailgate party and you cant seem to find your Lynyrd Skynyrd album. It seems more appropriate for the lake than the football game, though. Its highly evident through listening to the lyrics that the inspiration comes from life experiences that may mirror the aforementioned scenario. And thats okay. Its good to know not every band is still trying to keep up with the Joneses. (Tinderbox Music)