When in Rome, do as the Romans do. Or in the case of Houstonian Marina Rocks; when in Texas, be a Texan. The Austin-born guitarist/singer/songwriter has long embraced the musical styles she heard around her, and in the process developed a unique sound that nonetheless ties her to the Lone Star State. So it was with a little bit of surprise I realized she’s pushing some geographic boundaries on her new album, S.O.S. Texas. Don’t get me wrong, there’s no Boston folk coffee house scene here, nor any laid-back Southern California vibe, but the straight-ahead Texas rock and roll does get a few detours.
One More Song gets a little hint of Caribbean beat before Lloyd Maines’ mandolin and steel guitar bring you back to the Hill Country. Marina does a “rewind” of the song as the record closer with a simpler arrangement and Appalachian-tinged acoustic guitar. S.O.S. adds a little funk, with almost a country rap delivery in the verses adding nice contrast to the more melodic chorus. It has a delightfully tongue-in-check reference to a record label telling her “we love your stuff we gotta change it of course” that is a broader indictment of executives everywhere. Mind’s Eye brings in a full-on reggae beat. The Hollywood Sign is the most philosophical cut. It’s a wistful ballad noting “we’re all driving down the highway looking for our sign,” when it turns out it was there all the time if you had paid attention.
Marina Rocks has a passion for playing her guitar. Enough so that she’s strummed a hole in the body of her favorite instrument. She can bring that same intensity to her singing, especially when the song topic is near and dear to her. There’s no better way to hear that combination of ardor and spirit than in her latest release, S.O.S. Texas.
About the author: I've actually driven from Tehatchapee to Tonopah. And I've seen Dallas from a DC-9 at night.