A blues record for the modern listener? Wonders will never cease.
I had no idea what to expect from this when it landed on my desk. Wearily plonking it on the stereo, I was immediately transported into a blissed-out state by the gently flowing Robert Plant-esque beats and strained vocals of All You Ever Wanted. The rhythms hint at influences of African and European acoustic music, as well as the slide guitar of the blues. Suddenly the peace is broken right before the end with a stunning piece of organ work. Probably not for everyone, but a modern song with a classic twist.
The opening riff of I Got Mine is again spookily reminiscent of Zeppelin or Free’s bluesier moments. The gorgeously overdriven guitar gives the impression that I’m listening to a wonderful old vinyl record, not a brand new CD. Words fail me. Now, I’m used to listening to a million Zep-wannabes, and it’s fairly obvious when you get one. But here’s a song that bypassed the seventies bands and went straight back to the roots of blues. And that, my friends, is a wonderful thing for a rock record.
So now I’m hooked. And I’m not disappointed. The thunderous drumbeat that introduces Strange Times precedes another classic riff. I have no idea how this sounds so timeless; equally at home on any current music show you care to name, yet with undeniable uniqueness that I haven’t heard for some time. Think Groundhogs meets The Bees, and you may be close to describing the sound. And yet at the same time nowhere near.
Banjo. Someone must have listened to this record and thought, “I know what this needs, more banjo”. And Psychotic Girl was born. The slightly echoey, distorted vocals have definite hints of Tony McPhee here, complemented perfectly by another catchy yet understated riff. Here the vocals take centre-stage, unlike the previous songs, which shows versatility within a frankly limited genre. This track rolls along so smoothly that it’s almost a shock when it’s over. You expect the synth/guitar/banjo improvised solo at the end to carry on. And, believe me, it’s a rare thing to actually not mind a solo continuing!
More slide and fingerstyle guitar and heavy bass drums introduce the heart-wrenching Lies. Again, the instruments just melt into each other, along with the gentle backing vocals, giving the misleading impression that a very complex song is, in fact, very simple. Like the best things in life. A modern twist on the soul-shaking blues cry for romance gone wrong.
Remember When (Side A) starts off with a dreamy guitar riff, a cross between blues and country, and the rest just drifts in. The echoey vocals drift in and out of the tremolo-enhanced guitar. Pretty much what we’ve come to expect from this record, but somehow not disappointing or repetitive. Remember When (Side B) breaks with the quiet acoustic and roars in drums blazing and vocals like the demented offspring of Jimi Hendrix and Stevie Ray Vaughn. This is an amazing standout track, and at 2:10 is the perfect length to leave you wanting more.
I’m in danger of rhapsodising too much here, so suffice to say that I probably haven’t done a fantastic job of describing the music. Mainly because it defies description. I suggest you get this immediately and just let it wash over you, because you’ll still be listening to it for years to come. Things may not be like they used to be, as The Black Keys say, but the modern day is just as good.