Martt, a respected mainstay and beloved
cult-figure of the Southern California music scene, recently completed
his debut solo disc intitled "Tomorrow Shines Bright"
for the SuperScope label. The former guitarist and songwriter for
such legendary L.A. post-punk bands as Tex and the Horseheads
(1984-1989) on Enigma records, Thelonious Monster
(1989-1992) on Relativity records and the singer/songwriter/guitarist
for the critically-acclaimed Low and Sweet Orchestra
(1994-1999) on Interscope records.
Tomorrow Shines Bright. Recorded at
Willie Nelson's Perdernales Studio in Spicewood,
Texas was produced by Martt and Stuart Sullivan
(who has worked with Willie Nelson, Sublime, Robert Earl Keen, The
Meat Puppets and more) Tomorrow Shines bright presents
eleven songs spanning Martt's wide range of styles, from the country
guitar-based pop of "Fading out of sight" to the anthemic
"That's all mine."
Backed by some of the finest
players in music today, including Martyn LeNoble
(Porno For Pyros, the Cult) on bass, Gurf Morlix
(Lucinda Williams) also on guitar, Zander Schloss (Joe
Strummer, Circle Jerks, The Weirdos), Tom Petty keyboardist Benmont
Tench, Andy Kamman (Peter Himmelman) on
drums and back-up singers and players Will
Sexton and Kristen Vigard (Red Hot
Chili Peppers). Martt collaborated with other premier songwriters
for the tracks included on the disc including Jeff Trott
("If It Makes You Happy", Sheryl Crow's hit single) on the basic
rocker "Like Daisies In the Sunshine"
Martt's bittersweet ruminations
are an extension of the fine and finely-tuned work he did with Low
and Sweet. Picture a blend of songsmiths like Townes Van Zandt,
Steve Earle or James Talley and you have the Martt sound down.
Growing up in small town,
Sunset Beach, California. his Father, a Deep sea diver and his Mother,
a professional Hula dancer. Songs of a fully-lived
life as sung out by an American original, a wisecracking' seen it
all and lived to tell about it. Damn, you couldn't invent someone
like this and his stories if you wanted to.
Angel - L.A. Weekly