The Detroit Cobras: Tied And True
When we come into this world, some of us get tapped on the head by God,
the Grand Poobah, Mother Nature or who/whatever and are granted
extraordinary gifts; there is no question that Detroit Cobras’ singer Rachel Nagy rolled snake eyes at the Grand Casino in the Sky. With Tied And True,
the Cobras practically done created a new genre all for themselves,
delivering the sonic goods to back up some seriously supernatural
soulful vocal gifts.
Untrained and undisciplined (and how!), Rachel started out by belting revved-up rock yowlers and has grown into the gen-u-ine gutsy, vulnerable, delicate and commanding soul-on-the-edge singer. She effortlessly glides from R&B sass, to girl group pathos to kitten-with-a-whip toughness with a snap of her chipped fingernails. Longtime musical partner in crime, guitarist Mary Ramirez keeps the DE-troit Motor City in the Cobras with her body shop wallop, greasy rock ‘n soul rhythms and a bold grasp of old school, big room arrangements.
Stretching out in the studio like never before, and including contributions from top line players like Greg Cartwright (Reigning Sound) the Cobras have created a versatile and formidable wall of Spector sound (the "cool musical genius" Spector, not the "creepy wigged-out with model/actress dying under suspicious circumstances at his house" Spector). Is that timpani you’re hearing here and there? Yer goddamn right it is. Be it eerie or orchestral, or pure rock and roll rough up, Tied and True puts the Cobras on a whole new level—of many sources but a genus all its own.
Soul lives below the belt, and whether you’re looking to be grinding it slow or shaking it up good, the Cobras bring it tough and tender, savage and sweet. Tied and true.