It's like the blues, but it's not the blues. It's like melodic rock, but it's not melodic rock etc etc.
The lineup tells you pretty well all you need to know.
Pete Way,
Robin George, Chris Slade and
Spike, the man with only one name.
A generation ago, white boy blues, a sound informed by rock, sounded real, authentic, honest.
Over time it got diluted, commercialised and taken over by greedy labels.
Now that we've come through to the other side, and artists are releasing material on small (non major) labels, they've got a lot of their independence back. This is a result.
This what the seventies' Faces would sound like now if
Robin George had written and produced.
It's all tightly controlled, smokily claustrophobic at times, and the band members clearly spark off each other, igniting material that seems content simply to smoulder and burn most of the time.
They squeeze steam and heat and rock'n'roll emotions out of a great bunch of songs. Occasionally a great melodic rock type bridge or chorus will leap out of these dark edged tales, with lyrics that slice way at the vagaries of personal relationships...whether they be with other people or a line on the table.
Despite the fact
Spike joined after the songs were written, they fit his hoarse drawl like a glove. Pete Way anchors everything to solid ground, assisted and abetted by Slade's uncluttered, right on the money drumming, and
Robin George plays guitar like a god, providing the blood that pumps through all these great songs.
Burning slowest of all but burning absolutely white hot is
'One Step Closer'. Chris Slade's drums sound like they're right in the room beside you. It's probably the least commercial, if that's the right word, track on here, but boy, does it get under your skin.
'
Seven Golden Daffodils' has been a blues song, a rock song and a pop song. The guys make it sound like all three at one and the same time.
Other standouts are many. '
Dead Man Walking's explosive opening, bass heavy riff and thundering chorus makes it the likely opening track.
The way in which the choruses of
'Savage Songs' and
'Alice' just dive in and drill down is almost breathtaking, and George's guitar just sings. '
Cmon' has a strutting, swaggering, in your face, Free like feel.
That said, pride of place goes to the title track
'Damage Control'. It's got a raw, bluesy vibe, an irresistible momentum and a fabulously melodic hook. Best of all worlds.
A worthy investment.
Written by
Brian Monday, July 23, 2007
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