Perhaps the most telling moments of last night’s performance by The Fauntleroys at Willie’s Locally Known came during the two cover tunes it cooked up for an encore.
The first, Elvis Costello’s post-punk pop anthem Pump It Up was so untested that the band’s resident celebrity, Alejandro Escovedo, sang the verses from a lyric sheet – and that was only after the members went rifling through stacks and satchels in search of said lyrics. The other was The Stooges’ I Wanna Be Your Dog, a tune Escovedo has been playing long enough on his own that he can practically lay ownership to it.
There you had it. One tune was ultra tentative, the other second nature. Yet both reflected rock ‘n’ roll in its most joyously elemental form. In other words, the resulting music was as much the expression of four friends sharing a love of proto-punk and pop tradition as it was a declaration of high art (although there was a bit of that at work, too).
The more formal aspects of The Fauntleroys – Escovedo (who played bass), guitarists Nicholas Tremulis (who has led numerous rock ensembles out of Chicago) and Ivan Julian (a one-time bandmate of Lexington-born punk purebred Richard Hell and a veteran of the ‘60s pop troupe The Foundations before that), and drummer Linda Pitmon (last seen in Lexington as part of the all-star Baseball Project) – were quickly put on display by the six songs performed from its newly released debut EP disc Below The Pink Pony.
The best of the lot was Julian’s (This Can’t Be) Julie’s Song, a John Cale-meets-Mazzy Star-like pop incantation that expertly utilized Pitmon as a support vocalist. The most curious entry was the EP’s lone cover, a Tremulis-led take on the Incredible String Band’s Chinese White that underscored obvious accents of psychedelia within The Fauntleroys’ post-punk drive – accents that Tremulis and Julian further enhanced with scattered layers of guitar orchestration.
Escovedo went off the menu for his show-stealer – a riveting obscure original called The Man From Japan that was initially cut for his Real Animal album. An intense, mid-tempo rocker, the tune played readily off of Pitmon’s hearty grooves, Tremulis’ glossary of rhythm guitar chatter and a sense of band immediacy that remained vital right up to the song’s jagged and beautifully abrupt ending.