{"id":7170,"date":"2015-02-06T05:30:00","date_gmt":"2015-02-06T10:30:00","guid":{"rendered":"http:\/\/blog.musoscribe.com\/?p=7170"},"modified":"2015-02-06T05:30:00","modified_gmt":"2015-02-06T10:30:00","slug":"album-review-the-silos-cuba","status":"publish","type":"post","link":"https:\/\/blog.musoscribe.com\/index.php\/2015\/02\/06\/album-review-the-silos-cuba\/","title":{"rendered":"Album Review: The Silos – Cuba"},"content":{"rendered":"

\"\"<\/p>\n

When music historians write or speak about the college-rock music of the 1980s, and when they focus on the country-leaning exponents of that sound, many worthy acts get mentioned. The Long Ryders<\/strong><\/a>, The Blasters<\/strong><\/a>, Lone Justice<\/strong><\/a>, even R.E.M.<\/strong><\/a> all get recognized. But too often overlooked are The Silos<\/strong>. Formed in the middle of that decade, The Silos were the musical vehicle for Walter Salas-Humara<\/strong> (formerly of The Vulgar Boatmen<\/strong>) and Bob Rupe<\/strong>. On their second album, 1987’s Cuba<\/em>, the folky, acoustic-leaning Silos wedded a tuneful sensibility to singer\/songwriterly lyrics, and wrapped it all in a genre-spanning sound that took in elements of c&w (notably David Pearlman<\/strong>‘s pedal steel that graces \u201cMargaret\u201d) and alt-folk a la Camper Van Beethoven<\/strong><\/a> (for example, Mary Rowell<\/strong>‘s fiddle all over the album).<\/p>\n