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CD Review: Rhythm Dogs, Rewired
For their fifth album, the Oregon-based Rhythm Dogs took advantage of the pandemic downtime to create their finest effort, aptly titled “Rewired.”
The band fuses the elements of jazz, AfroBeat, ska, reggae, dub, blues, and their trademark funk on this effort with stunning results.
The album starts with a horn fanfare followed by an AfroBeat-inspired composition “The Mad Drums of God” which culminates in a duet of Chuk Barber on percussion and Mark Burdon on drums. The record then switches gears with Mark von Bergen’s slapped bass drenched in a Bootsy-like envelope filter laying the foundation for a jazz-funk workout. Here guest guitarist Jennifer Batten – veteran of world tours with Michael Jackson and with guitarist Jeff Beck – explodes with a wild and layered solo. She returns for another hard groove tune, “Invisible Man,” with similar abandon and taste.
Then a stripped-down rhythm section tackles the first of two ballads, Chris Azorr’s beautiful composition “KFC.” And later, this time with horns, the band adds a mysterious and breathtaking “Irene.” On these tunes, von Bergen plays an NS Design 5-string electric upright which lends thickness and power. Azorr’s piano playing on the ballads is creative, sophisticated, and tasteful.
One of the original masters of Jamaican dub, Hopeton “Scientist” Brown provides an old-school dub mix of the odd-metered (7/8) reggae tune “Under the Influence of a Groove” and the fast-paced “Cat Club Ska,” the latter featuring another exciting percussion duel. Also featured on “Under the Influence of a Groove” is a veteran of Ziggy Marley’s band, Michael Hyde, whose keyboards provide a skanking counterpart to Azorr’s deft organ.
This is an all-instrumental set of originals. The melodies and arrangements are solid, played with precision and intensity, and the improvisations are ambitious and inspired. Mary-Sue Tobin’s tenor and alto saxophones and Greg Scholl’s trombone form a solid horn section when joined together to sound out the heads. Even more impressive is their well-honed improvisation skills, creating bold, sometimes inside-outside, exploratory solos that stand up nicely to Batten’s aggressive six-string wizardry on her two cuts.
Even though the Rhythm Dogs cover a multitude of styles, time signatures, and song structures, “Rewired” is a cohesive 66-minute program of new music. Sequenced carefully, the album is worth digesting in one sitting or song by song. Regardless of where the needle drops, you will be impressed by the musicality of the improv-heavy set.
CDs are available at rhythm-dogs.com, and the album is streaming on Apple Music, Spotify, and other services.
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Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her ‘90s Rock Memoir “Even The Good Girls Will Cry” on 17 March 2026.
KB: Did you always want to be a singer-musician growing up?
I’ve played music my whole life. In school, I played trumpet and sang in a children’s choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montreal’s underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders – all had female bass players. That’s when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Hole’s bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said “no thank you” due to my commitment to my photographic studies and the drama and chaos surrounding the band during the “Live Through This” album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time – the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??I’ve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
“Mountain Song” – Jane’s Addiction (love a rambling, rolling bass line – feels like the ocean waves)
“Black Top – Helmet” (was the first bass line I taught myself)
“Gold Dust Woman” – Hole from “The Crow 2” Soundtrack (it was my first bass line contribution to the band)
“Get Ready” – The Temptations (Motown just feels so good, because of the bass)
“Lucretia My Reflection” – Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
“Be My Druidess” – Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
“Romantic Rights” – Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot – also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my ‘90s Rock Memoir “EVEN THE GOOD GIRLS WILL CRY”. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the ‘90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness – may the past shed a light on our future. That’s my hope for this book release and tour.
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