FogBlueInSanFran
Well-Known Member
Here's the thing about blues-rooted-country-tinged-rock: it needs a soft edge somewhere. Otherwise it's just the blues. For me, the edge is softened by either grandiosity (think Led Zep), or -- much better -- humo(u)r. Take George Thorogood. Take Social Distortion. Take the band I WAS going to bring up next but now can't because Rob stole my thunder (they're English by the way). There's something to be said for a band who run so hard, but like Minor Threat in the punk realm, they lose some soul/humanity when they always take their craft seriously. So I can admire their fortitude and professionalism but not enjoy it quite so much.
That all said, musically, these guys have the chops. They use the slide the way Big Country uses the e-bow -- liberally and to really good effect. I bet they're quite good live and I could see myself having a great time at a show. I did really like the tempos -- there are a lot of foot-tappers beginning to end -- and plenty of juicy blast chords. I'd have mixed the drums a bit higher personally, but that's a quibble. I don't mind the vocalist's yawps, but sometimes they lean in the direction of channeling Axl Rose, and then I wonder if its just for effect.
Personally, I most enjoyed the songs that veered a bit away from what they're best at -- that had a bit of quirk. "The Desert" (they needed those "la-la-la-las" that open it to come back in the chorus -- missed opportunity), "Kiss It" (thought it was a Blink-182 cover for a bit!) and "Walter" were the ones that stood out to me. While I know "American Man" (the song) is a critique, I wonder why they named the record after it. The rest of the record doesn't thematically tread the same path. In fact later when I hear the "take the freedom of the 9 to 5" line, I'm not sure if it's a criticism of a working man's shackles, or respect for the average Joe.
So what I'm left with this is the old "sound over songs" issue. I like plenty of bands where the sound is more important than the songs. But I don't think you can get away with that when the blues figure so meaningfully, and for 3-pieces without a bassist I'll take Sleater-Kinney all day long and twice on Sundays. A solid 6 for the sound but not so much for the songs.
That all said, musically, these guys have the chops. They use the slide the way Big Country uses the e-bow -- liberally and to really good effect. I bet they're quite good live and I could see myself having a great time at a show. I did really like the tempos -- there are a lot of foot-tappers beginning to end -- and plenty of juicy blast chords. I'd have mixed the drums a bit higher personally, but that's a quibble. I don't mind the vocalist's yawps, but sometimes they lean in the direction of channeling Axl Rose, and then I wonder if its just for effect.
Personally, I most enjoyed the songs that veered a bit away from what they're best at -- that had a bit of quirk. "The Desert" (they needed those "la-la-la-las" that open it to come back in the chorus -- missed opportunity), "Kiss It" (thought it was a Blink-182 cover for a bit!) and "Walter" were the ones that stood out to me. While I know "American Man" (the song) is a critique, I wonder why they named the record after it. The rest of the record doesn't thematically tread the same path. In fact later when I hear the "take the freedom of the 9 to 5" line, I'm not sure if it's a criticism of a working man's shackles, or respect for the average Joe.
So what I'm left with this is the old "sound over songs" issue. I like plenty of bands where the sound is more important than the songs. But I don't think you can get away with that when the blues figure so meaningfully, and for 3-pieces without a bassist I'll take Sleater-Kinney all day long and twice on Sundays. A solid 6 for the sound but not so much for the songs.
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