Backstage In South Florida: Homegrown Talent Makes Its Mark

Music vet and New Times scribe Lee Zimmerman offers his insights, opinions, and observations about the local scene. This week, three distinct and disparate artists bring South Florida some national glory.

Anyone familiar with guitarist Albert Castiglia's

searing live performances may come away from a show with the impression that he's

simply a superb showman, adept at stringing together obscure oldies, or

wandering out to the curb while flailing away undeterred. However, his

various recordings reflect a more serious side to his musical persona,

one that demonstrates his unapologetic passion for the blues as his ultimate

musical mantra.

Not surprisingly then, Castiglia's fifth album,

appropriately entitled Living the Dream, shows his commitment to

his work, tearing up his terrain with a frenetic fury that not only

demonstrates his superb musicianship, but also his knack for choosing

material that showcases him in his finest form. As always, he chooses

songs that show him soaking up the spotlight and engaging his

interpretive prowess. Consequently, we get tracks penned by Freddie

King, Paul Butterfield, Mose Allison, Little Richard, and longtime pal

and collaborator Graham Drout of Iko Iko.

But what's even more

impressive is the fact that Castiglia is gaining considerably more

confidence as a songwriter. His "Living the Dream," "Public Enemy #9,"

and "I Want Her For Myself" are easily a match for the cover material,

proof positive that when it comes to making his mark, nobody knows what

suits him more than Albert himself. It may be a bit premature to crown him

America's newest King of the Blues, but there's little doubt that he at

least deserves the title of heir apparent.


Then there's Chris Price, a native Miamian who's now making his home in L.A. and milking those environs as a muse with a debut disc scheduled for release on June 26. The fact that it's titled Homesick may or may not offer a clue as to where his heart really is, but given that he's mining a vast array of obvious influences -- specifically ELO, the Beatles, Beach Boys, and solo McCartney -- it also shows he's most comfortable in pure power pop realms. This is regardless of where he's physically established.

He's further unleashed himself by recording the entire album practically all by himself on his iPhone, using it to bottle the inspiration found in El Lay's more notable settings, places such as the Griffith Park Observatory, the Getty Center, and the Greek Theatre (where he and some buddies hopped over the security fence and trespassed for the apparent thrill of it all). Of course, none of this would matter if the music didn't make its emphatic impression, which, by the way, it does right out of the box. Personally, we're banking on this boy to make it to the big time, based on his sound alone. And then when he does, let's hope he gives us hometown folks a shout out, so we can say in return we knew him when. Even if we really didn't.