A MOONEY SUZUKI show is like an introduction to pure rock and roll theatre. It’s a stirring, exhausting experience that begins something like this: The lights drop, the excitable crowd buzzes with anticipation as the venue is filled with the melodramatic theme to 2001: A Space Odyssey; and they emerge in a barrage of lights, chests out, hands in the air. It’s the kind of entrance you’d find at a WWE wrestling show.
They launch straight into ‘Primitive Condition’, and inside the first verse, singer Sammy Jones Junior expertly drops a shoulder as the first beer can comes sailing his way. It seems to act as a challenge to the crowd because the bombardment of Red Stripe will remain pretty constant from here on in. The band literally soaks it up; Jones is in the crowd for a quick meet and greet before the first song has even finished.
Without stopping for breath, ‘Loose ‘n’ Juicy’ follows. ‘Lemme getcha goin’ – rock ‘n’ roll got ya fluid flowin’’ shouts Jones as guitarist Graham Tyler struts around behind him, soloing like Slash. You need more than one pair of eyes to keep up with these guys; the Mooneys are all over the place. Even drummer Augie Wilson can’t sit still, regularly jumping up on his kit to proudly show off the flat cap and breeches he’s wearing, presumably in homage to the British fans.
Only after about twenty minutes does Jones stops to address his audience. ‘London; are you in the mood for a little electric guitar?’ he preaches, not really needing to wait for an answer; they’re off again, up, down, stage left, right as the crowd join in for ‘Legal High.’
‘New York Girls’ provides Tyler with plenty of high-kick opportunities as he embarks on some inspired Mick Ronson-esque riffage. He’s up on the amps; in the crowd; on his back; in the crowd on his back; you name it – he’s clearly enjoying himself as much as the fans who pass him over their heads as he backstrokes across the room without missing a note.
And of course – jazz hands at the ready – all this has been building up to ‘Alive & Amplified’ which threatens to take the roof off. Jones windmills like Townshend, Tyler continues to exploit every inch of his guitar cable and Wilson acrobatically balances on his drums, splashing down excitedly like baby in a paddling pool. It’s a hell of a way to close a set, but of course The Mooneys aren’t quite finished yet; after a brief respite – presumably a few slugs of Lucozade Sport – they’re back on stage performing some freakish version of Hey Joe. On opposite sides of the stage, Jones and Tyler both manage to clamber all the way up to shake the hands of those in the balcony 15 feet above; then they’re on each others’ shoulders, enthusiastically tossing off their guitars in tandem like, well, a dog with two dicks.
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It’s an exhilarating end to the night and not a single member of the crowd is budging until they’re sure The Mooney Suzuki have gone for good; probably to take their pick of the girls who’ve still got the energy to write down their mobile numbers.
And that’s about it. You won’t often see a live performance like the one delivered by The Mooney Suzuki. Sure, all the songs follow a pretty much identical formula – Jones kicks it off, leading into some guitar heroics, a singalong chorus, a spot of attention jousting with Tyler, a clappy bit, a big finish and straight into the next one – but you won’t find anyone complaining. It’s interesting because ‘Alive & Amplified’ is a good if unspectacular LP; it’s a party album that proves that some bands are just meant to be seen live.
But, are The Mooney Suzuki rock legends in the making? Or are they actors, touring ‘CBGB’s: The Musical’, a new rock opera written by Ben Elton? Either way, seeing them live is a bit special; if you get the chance to watch them play you should jump at it, kicking and screaming like you were Sammy Jones Junior himself.
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