The Dirty Little Betty’s
Virtuosity takes countless configurations, and The Dirty Little Betty’s, while not actually virtuous, are a startling example of virtuosity.
The synergy is magnificent. The final product is greater than the composite parts by an entertainment factor of ten.
Take Sam the Banjo man and his universal roll. I am not referencing an Eskimo croissant with Asian squid juice, but an ability to make a banjo (a very awkward instrument) fit into any of the ecumenical stylistic conglomerations that are the Betty’s, and in a way that makes one wonder why it is not on every recording since ever.
Clinton Avery Tharp is the gravitational center of the ensemble. I would say he was the front man but the Betty’s are a sphere, more like a cat toy and very nonlinear like a saxophone. His sense of humor is amusing.
David Bruster is adaptable. He can twirl guns and tap dance. The only musical instrument he can’t play is the Swiss Alpine Horn. He actually refuses to play it for political reasons having to do with a lost code for a numbered bank account and something to do with cheese. He is a master musician and plays guitar in the band without looking. He once set the stage on fire, literally.
Andy Adams is the bass portion of the positronic rhythmic foundation of the Betty’s groove. He has more pocket than a pool table and more balls.
Scott Buxton is the senior member of the group. To call him a drummer would imply that he spent his days beating on skin heads. He is a certified Wizard at holding the groove hostage. He is the technically the most sane Betty.
-Bob Moore (of Moondog)
