OFFICIAL
VIDEO: https://www.youtube.com/watch?v=TCcty_OEC0k
The
Respectables really weren’t doing themselves any favors in their last record
Sibley Gardens, but in The Power of Rock ‘N’ Roll, their latest full-length
album, they wisely play to the handful of strengths that have gotten them this
far in the industry with moderately positive results. While there’s a bit of
excess where I was least expecting to find it here – the acoustic wailer
“Limousine,” the haggard hybrid “Mardi Gras” and Steppenwolf-style “Give Some”
– there are also moments of genuine originality, such as in the pop-rocking
“That Girl” and jittery “The Shotgun Seat.” The Power of Rock ‘N’ Roll doesn’t
live up to its name by any stretch of imagination, but it’s got enough zeal to
qualify it as an accessible offering from a band that seems to be headed
(mostly) in the right direction.
Though
slightly overproduced, “Oasis,” “As Good as Love Gets” and the countrified “18
Wheeler” (which sports a really sweet swing in its rhythm) are a lot more
streamlined and concise than anything we’ve heard from The Respectables before.
“Wheel in My Hand” drags on longer than it needs to because of its
cringe-worthy abuse of a blues riff, but disappointing tracks like this one are
balanced out by more acerbic material like “Highway 20.” The title track has
got the bones of a classic rock song, and even though I would have made the
drums a little less prominent in the master mix, the hook that serves as the
song’s bread and butter gives it a texture that I really wish I could have
heard more of across the tracklist.
It’s
not an album that would recommend to anyone other than diehard supporters of
the band, but The Power of Rock ‘N’ Roll is nevertheless a big upgrade for The
Respectables’ nonsensical Sibley Gardens, which contained only shades of the
focused style of attack that this record’s most sterling songs employ
liberally. The gap in time between the two LPs gave the group some time to hone
their craft a little more and get into a more relevant mode as songwriters, and
possibly in this second phase of their career, they’ll at last find the perfect
counterbalance between alternative rock and traditional pop that has evaded
them so torturously for the last thirteen years.
Joshua
Beach
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