Three Five Human
Swig From the Acid Bottle
By James Calemine
Three Five Human ranks as a formidable rock and roll group. The Atlanta band's third CD, Swig From the Acid Bottle, contains various jewels that may propel them into mainstream exposure.
The band--Trina Meade (vocals), Tomi Martin (guitar), Joey Williams (drums), and Tres Gilbert (five-string bass)--employ various styles in their sound. Members of the band have recorded and toured with Jane's Addiction, Eric Clapton, Mick Jagger, Madonna, The B-52s, Stevie Wonder, Outkast, Toni Braxton, Goodie Mob, TLC, Stevie Nicks, Natalie Cole and Audioslave.
In time, Meade and Martin may serve as an R & B version of Ike & Tina or a soul version of Delaney & Bonnie. Tomi Martin nabbed a deal with Number Nine Guitars for a Tomi Martin signature guitar line. He's traveled extensively through the States and Europe. He's acquired major endorsement deals from Mesa Boogie Amps, Jackson/Charvel Guitars and Powerbite Strings.
Jeff Tomei produced Swig From the Acid Bottle; his credits include Alice In Chains, Smashing Pumpkins, Jerry Cantrell and Matchbox 20. The opening track, "Genocidal Youth" features fellow-Georgian Amy Ray on the rocker. "Come Alive", another hard rocker, carries a melodic tone throughout the song, but without mindless head-banging repetition.
"Front Line" serves as a rollicking version of a Stevie Wonder composition. "Disco Ragdoll" highlights a slow number which allows Meade to utilize her sultry voice complimented by a mathematical Martin guitar riff. "Jenny", perhaps the centerpiece song on this CD, fits perfectly with the band's southern roots. This song deserves a tip of the hat for the amalgamation of traditional music into one great rock and roll song. If the song ever gets in the right hands, it could be a major hit.
By the time the listener hears 'Walking Papers", it's obvious Tomi Martin's shadowy guitar prowess earns respect. "Corporate Killers" navigates into heavy metal territory with a lyrical narrative the attacks soul destroying corporate entities.
The last song, "Center", remains a great closer. The slow bluesy number contains a melodic commercial appeal without betraying its roots. If these musicians ever implement country-blues into their repetory there's no limit to their musical powers.