By Kat Bein
By Shea Serrano
By S. Pajot
By Terrence McCoy
By Falyn Freyman
By Shea Serrano
By Jacob Katel
By Michael E. Miller
Take four people from widely varying ethnic and personal backgrounds, put them in a potentially intense situation, then wait for the sparks to fly. It may sound like the formula for some "real life" MTV show or the premise of the next "Must-See TV" program, but it's actually the secret behind the musical mix of South Miami band Omar Stang. The quartet, which has been gigging regularly around Miami since early last year, boasts a diversity uncommon in young bands, who usually worry to excess about finding their own sound. The guys in Omar Stang don't bother: They fuse the rock, blues, funk, soul, Latin, and jazz elements of their musical backgrounds to create music that feels good to them. Not that they know what to call that music. "It's hard for me to say what kind of music we play," says bassist Mario Padron. "I wish we could hear our music from the audience's perspective so that we could define or classify what it is."
To break the Stang puzzle down to its individual pieces, vocalist/rhythm guitarist Eric Colville (formerly with the local blues band the Mad Hatters) comes from a roots-rock garage-band background, with an interest in the Beatles, Bob Dylan, and rockabilly. Guitarist Peter Parente and drummer/percussionist Fredrick "Bam-Bam" Scott (late of the local group Soul Station) are both University of Miami music school graduates with training in jazz and classical and time logged in various R&B groups. Finally, jazz-trained bassist Padron brings to the group the Latin musical tradition he absorbed while growing up in Miami.
"We are certainly not a band where everyone loves the Kinks," says Colville. "I think it gives us so many colors, gives us a strength. If all you put in a milk shake is vanilla, you're only going to get vanilla. With everyone pulling their own way, it strikes a balance. There's no way we can sound just like any one other band."
The band's musical eclecticism stems from the members' belief that different song ideas must be expressed with suitably different musical styles. Meaning that the bluesy rock groove of "X-Ray Glasses" (a humorously pervy song about seeing through superficiality, among other things) contrasts sharply with the melancholy Spanish-guitar flourishes and delicate arrangement of "Time Away." Meanwhile straight-ahead rockers like the funk-laced antiwar anthem "Old Enough to Die" and the alternative-edged "1000 Miles," an exploration of personal growth, delve into their subject matter with intelligent, if not exactly poetic, lyrics, while being carried along by intricate guitar work and a solid rhythm section.
"You can't sit down and write something because you think people will like that kind of song," says Colville of the group's approach to composition. "If the song means something to me, and it means something to everyone in the band, there's always the chance it'll mean something to someone outside of the band. I try to get to the bottom of what I really think about things. Sometimes I find out, 'That's not really what I think of this.' It's like an individual therapy session."
Not that the band members are heavy-handed or overly serious about their music. "We want to give people something for the head and for the body," Colville explains. "I think overall there has been a return to songwriting. That's important to us, but at the same time we don't want to be like the folkie girl with a guitar and some overwrought lyrics either."
Colville and Padron originated Omar Stang (named after a small street in South Miami near where they live) in late 1995, with Parente and Scott joining soon after. The band played their first gig the following February at Churchill's; in the year and a half since, they've performed at Tobacco Road, Stella Blue, Marsbar, Cheers, and Rose's, as well as on the bookstore circuit and for gallery night in Coral Gables.
From an initial list of seven songs, the band's repertoire has expanded greatly, and those first efforts have evolved over time and repeated playings. "You can't recognize some of the songs from when they were first written," says Colville of that evolution. "The music seems to represent the ideas better, and the band is just tighter as a whole." As the main lyricist, Colville usually contributes the song idea and basic melody, but these serve more as a springboard for the contributions of the other members. "Since everyone has a different musical background, the pieces just sort of fall in when we're writing," explains Parente. "Eric will come to us with the bare bones of a song, and after playing around with it a few times, we all go off and do our own little thing, then come back and say, 'Look at this.' It's a team effort. What I can't handle, I know someone else will get." Or as Scott sums it up: "Eric makes the fabric; we put on the buttons and hem it."
But with four different personalities, even the songwriting approach varies from member to member, says Padron. "The song is the most important thing to Eric, while Fred and I feel sometimes like we want to play something that just feels good." And occasionally Colville finds himself outnumbered: "I have very certain ideas of what I want to hear, and then these guys say, 'Let's try this.' The first time I say, 'No, no,' then after listening to it a few times, I say, 'That really is good.' I'm pulled out of my niche a little bit, and I think we end up with something everyone is happy with."