Classic Rock Magazine did a recent feature on ‘The Return of Real Rock ‘n’ Roll’ which showcased all the new U.K. bands that fall within that particular category. It’s a shame that they didn’t extend this to The States as well, because J.D McPHERSON’S debut album falls well within that category, and to top it all, it’s absolutely great!
Featuring J.D. on Guitar & vocals, the producer, Jimmy Sutton on bass, guitars and backing vocals, and the engineer Alex Hall on drums, piano and organ, this is an in-house production that no-one should miss. The album was recorded on an old 1960’s Berlant tape machine, which gives it an authentic Rock ‘n’ Roll sound and feel. Upon first hearing, it’s hard to believe that this was recorded in 2010. The publicity blurb states that this is not retro, it’s post-structural. I don’t know what all that bollocks means, but I know a great record when I hear it.
What you get here is twelve near perfect tracks that could have been plucked directly from late 1956. Opener, ‘North Side Gal’ is the current single and has a classic Little Richard style beat. J.D. vocals are spot on, with a classic Rock ‘n’ Roll shout, the sort of which was regularly used by Little Richard himself as well as Jackie Wilson, and later on by John Fogarty. The lyrics fit seamlessly with the music, referencing attitudes and styles of the 1950’s but bringing them crashing into the 21st Century: “I got some money and some wheels to drive, Old beat up guitars and sleazy dives”.
‘Country Boy’, the first of two cover versions works equally well and immediately made me think of some of Eddie Cochran’s lesser known work. ‘Fire Bug’ is a really great rocking track with a piano line that references Little Richard’s ‘Lucille’ and lyrics that talk about the singer’s girlfriend in a manner that balances the retro and the modern: - “She can light a fire with a little bitty kiss and a hug/ I took her to the Winter Ball and melted up the snow.”
‘Signs & Signifiers’, the title track is slightly different with the drum and bass being upfront and some lovely reverb guitar. J.D.’s vocal soar over this and the lyrics made me think of Johnny Cash’s ‘Let the Train Blow the Whistle.' ‘Wolf Teeth’ which follows has a slightly more Rockabilly style, and once again represents high quality.
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‘Scratchin’ Circles’ is sax heavy and with vocal similar to some Jackie Wilson work, J.D. brings the classic dance floor type track right up to date. ‘A Gentle Awakening’ follows the style of classic 1950’s noir ballads and is positioned just in the right track sequence to break any accusations of repetitiveness or sameness of the songs: “Put down the paper baby, I had a dream at dawn/ A terrible storm blew over, covered up the morning sun.”
‘Dimes for Nickels’ is one of those songs that sticks in your head about a money grabber who is only interested in your cash and sucks you dry, while ‘B.G.M.O.S.R.N.R.’ is a sax heavy song all about that big gold mine of that sweet rock ‘n’ roll – perfect!
'I Can’t Complain’ is probably my favourite track on the album, featuring a guitar break that could have come straight from Scotty Moore and lyrics about the aftermath of a relationship bust up: - “I can’t complain, I stay pretty dry in the rain”, but the character here has to confess: “I’m living fair to middlin’/ nearly ‘bout every day.”
The second cover version on the album is ‘Your Love (All That I’m Missing), a Joey Simone track, and J.D. does it justice. The final track on the album is ‘Scandalous’ which is the sort of track Little Richard would have wanted in his repertoire all about the way people look down their noses at you for your style:
“Look at us Mama, we got the style/ A High School Caesar and The Queen of the Nile.”
Without a duff track on the album, this has to be the best debuts that I’ve heard so far this year, and one that holds up well to all the classic original Rock ‘n’ Roll albums.
Hi-Style Records online
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