“There is no God in Juarez,” Billy Don Burns sings, and he’s absolutely right. God has forgotten about Ciudad Juarez. That’s when the scariest part began. The devil and his henchmen jumped out of the depths of the Aztec hell to do shoddy things among people: hundreds and hundreds more of murdered babies, girls, and women were found buried in one place. Mexican investigators have been looking at various suspects along with various murder methods for the past ten years, but you don’t have to be smart. Everyone understands everything, and some even take steps that won’t save anyone. Those who are incorruptible will disappear. Texan-Mexican Gothic as it is. The American version of the Scandinavian TV series “The Bridge” is just about that. The song “Missing Women” by Patricia Vonne is about the same thing. Framed by an alarming surf guitar and bull-calling castanets.
Patricia Vonne – Missing Women
Pulling back the veil, it should be clarified that Patricia took the pseudonym Vonne out of love, as it seems, for Stevie Ray Vaughan. She can often be seen wearing a hat like his, and her favorite guitar is the Fender Stratocaster SRV Signature. Pat appeared in the same Rodriguez family, where the future director Robert Rodriguez was the first to scream a year before her. It didn’t bother her, and she was cleverly born in 1969, headfirst. She always had a hundred ideas in her head.
As soon as she got out from under the care of her parents, who continued to support her, Patricia fled to New York to shine on the podium and whistle at everyone, since the breed allowed. Although Pat is not talking about the podium: having assembled a band, she fried Texas rockabilly in all possible CBGB. The Jewish bohemians, who preferred klezmer disguised as so-called “punk”, did not appreciate the Spanish language and model forms of the vocalist girl. The singer, not holding a grudge (her brother then worked for the office of the evil makar of the famous Weinstein), returned to Texas. That’s where it started.
It should be noted that Pat also made her film debut in “Four Rooms”, brilliantly portraying a dead woman, and in “Sin City” she embodied a prostitute named Dallas. Robert didn’t feel sorry for his little sister at all. Little sister didn’t mind for a while, but one day, in 2003, she released a solo album. It was then that the darling began to gallop. Rockabilly, tex-mex, flamenco, ranchera and others, others, others… “Top Of The Mountain” is sultry Yorona’s seventh album, a must-listen. ¡Vamos, Perros Lunares, vamos!
Citadel is a girlish post-punk band. With the right surf guitar and night mood. Some bodies are floating off into the Gulf of Mexico.
City Is Alive is a story about an entire city coming to life when it should be asleep. A ghoul-like saicobilly with a hard rock guitar.
Illuminaria is a high-speed western, backed by castanets. Bullets knock sombreros off cabrones, cabrones bite muchachas on arsholes… An ordinary day in a border town. Patricia howls scarier than La Llorona.
Although Top Of The Mountain is played with a traditional country sound, it generally feels like a hard rock composition. Even the violin is sawing like the last time. The same string. A curious experiment, contraindicated for fans of Hank Williams.
Li’l Lobo is the case, as if The Cramps turned out to be Mexicans and decided to assemble a stadium. The duo appears to be Robert Laroche, guitarist and collaborator of Patricia. Great rock, a little bit of roll is missing.
Madre De Perla is a desperate flamenco, although there is no other way. Patricia dedicated this song to her mother.
Tidal Wave reveals the vocals of the soloist, as if presenting all the vocal nuances, mixing them like glass beads in a kaleidoscope. The composition is vaguely reminiscent of Chris Isaak.
Graceland Trip is an absolutely uncompromising rockabilly with Chris Isaak’s pianist Scott Plunkett and the legendary Johnny Reno blowing through the saxophone like a Jericho trumpet. Imelda Mae is gnawing on a nail somewhere in the agave thicket.
Western Blood is an unexpectedly voiceless song where Vonne takes on the role of lead guitarist. And off she went. Both muerte and amor.
Conción De La Boda is a Spanish waltz. Creepy, like all Spanish waltzes. Perfect for the movie “The Devil’s Backbone” by Guillermo Del Toro.
Lekker Ding is even more playful rockabilly. Pat has been a fan of Buddy and Elvis since childhood.
God’s Hands is another hard rock number, this time disguised as gospel. But there is a place for the voice to turn around, Patricia perfectly intones, crying out to the Lord.
Stop The Madness brings us back to the topic we started with. It is beneficial for the US government to have weakened states on its borders. It is advantageous to keep not only Central, but also South America in the “black body”. The madness won’t end. And that’s the scariest part.
Patricia is a broken-hearted girl who doesn’t shy away from cool rock’n’roll or outspoken manifestos. On each of her albums, everyone will find their own. And what is found will be a treasure. Don’t be like vaqueros, take off your boots before going to bed, Moon Dogs!
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