At the time of its release, this album was a favourite of mine, but when trying to get back into it for this review, initially struggling to find much nice to say about it. Common complaints were songs that felt quite musically bland, some songs being good sections which were awkwardly shoehorned together and other songs having too heavy reliance on a few hooks, resulting in songs feeling too drawn out.
Audio quality is also a let-down, with a dominant (sometimes boomy) double bass and kick-drum sounding at odds with the style of the song. While the trumpet solos sound great, there is something wrong with the horns when playing as a section. The sound is strangely weak, perhaps out of tune even.
Against all these complaints, the band holds a trump card, though: the lead vocals. Wonderful. From syrupy-smooth ballads to jazz diva to soaringly powerful, all styles are a joy to listen to.
The rockabilly influence is stronger than The Louisville Sluggers' previous recordings, starting with the instrumental Reverend Rumble. While I dig the style, the execution to me sounds like a poor cousin to fellow Sydney band Casino Rumblers and lacks enough musical ideas to justify its length. I hold similar feelings for Heat.
The combination of jazz, rockabilly and stunning vocals elevate Radio (All She Had On...), Don't Boss Me, Sands of Time and Hightime to greatness. The vocals do carry these songs somewhat, but regardless I really enjoy them.
Night Time is a wonderful oddball on this album. The spaghetti western style is a highlight, and the songs builds-up very nicely. Miss Mirradell (The Ghost Of) features a pretty poxy chorus, but the soft verses are beautiful and the vocals- as always- are a highlight.
The acoustic ballad Doin' Time is a wonderful duet. Perhaps it's Fulsom Prison Blues with a feminine touch, which of course is a recipe for greatness. Similarly, the hidden track extended version of He's the One (from the Hey Honey, Please EP) uses this style to great effect. It draws out all the best bits wonderfully and the bare-bones nature reveals a wonderful side to this song. This is one song where the composition deserves praise: the gentle build-up perfectly suits the song as the instruments slowly enter for the final big band chorus.
Snake Johnny is mostly too disjointed and staccato for my liking, it seems to change styles just as it is finally getting into a groove. However the bridge is brilliant, in a similar style to Masterplan's. Somehow my favourite lyrics from the album is this riposte:
"You know the monster inside you is alive."
"I keep it checked."
... which takes on a great meaning in the context of the song.
Audio quality is also a let-down, with a dominant (sometimes boomy) double bass and kick-drum sounding at odds with the style of the song. While the trumpet solos sound great, there is something wrong with the horns when playing as a section. The sound is strangely weak, perhaps out of tune even.
Against all these complaints, the band holds a trump card, though: the lead vocals. Wonderful. From syrupy-smooth ballads to jazz diva to soaringly powerful, all styles are a joy to listen to.
The rockabilly influence is stronger than The Louisville Sluggers' previous recordings, starting with the instrumental Reverend Rumble. While I dig the style, the execution to me sounds like a poor cousin to fellow Sydney band Casino Rumblers and lacks enough musical ideas to justify its length. I hold similar feelings for Heat.
The combination of jazz, rockabilly and stunning vocals elevate Radio (All She Had On...), Don't Boss Me, Sands of Time and Hightime to greatness. The vocals do carry these songs somewhat, but regardless I really enjoy them.
Night Time is a wonderful oddball on this album. The spaghetti western style is a highlight, and the songs builds-up very nicely. Miss Mirradell (The Ghost Of) features a pretty poxy chorus, but the soft verses are beautiful and the vocals- as always- are a highlight.
The acoustic ballad Doin' Time is a wonderful duet. Perhaps it's Fulsom Prison Blues with a feminine touch, which of course is a recipe for greatness. Similarly, the hidden track extended version of He's the One (from the Hey Honey, Please EP) uses this style to great effect. It draws out all the best bits wonderfully and the bare-bones nature reveals a wonderful side to this song. This is one song where the composition deserves praise: the gentle build-up perfectly suits the song as the instruments slowly enter for the final big band chorus.
Snake Johnny is mostly too disjointed and staccato for my liking, it seems to change styles just as it is finally getting into a groove. However the bridge is brilliant, in a similar style to Masterplan's. Somehow my favourite lyrics from the album is this riposte:
"You know the monster inside you is alive."
"I keep it checked."
... which takes on a great meaning in the context of the song.
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