(BIG MUDDY RECORDS; 2014)
Germination of a record review: The reviewer, with time to kill, visits a legendary Saint Louis record shop; of course, while there, the reviewer is on the look-out for new and interesting releases – especially from local artists – to write about… sometimes, it’s just an interesting cover. Imagine the above cover staring back at you as a glorious 12” by 12” album sleeve… a real live slab of vinyl. I was mesmerized… I had to hear this music! So, what’s the next step? Contacting the record label (or the artist) to request a copy for review. Then, it was just a matter of playing the waiting game, counting the days until that special package arrived at my doorstep. Naturally, there’s always the off-chance that the cover belies the musical talents of the artist and… well… the music sucks to high Heaven (believe me, boys and girls, I’ve been burned by a great cover many times playing this game). Thankfully, though the musical style was really something totally unexpected, I can tell you that in this instance, cover and material mesh perfectly. So, here’s the skinny on THAT’S WHY I’VE GOT TO SING:
The music of Loot Rock Gang, written by vocalist Mat Wilson (who adds acoustic resonator guitar to his LRG resume), encompasses a wide range of styles, all rooted in the deep heritage of the Blues and Americana. Likewise, the group’s instrumental configuration – Wilson is joined by his wife, Little Rachel on harmony and backing vocals, Stephen Inman on upright bass and, taking most leads and solos, Kellie Everett on the baritone sax (with help from Ryan Koenig on percussion, mandolin and harmonica) – hearkens back to a bygone era in American musical history. “Loot Rock Boogie,” a theme song of sorts for the band, gets the record off to a rip-roaring start. It’s kind of a dirty throwback to those great B-grade teen exploitation movies from the ’50s and early ’60s. The ancient rock ‘n’ jive continues on “Road To Burn,” a stompin’ good time boogie with a great baritone sax solo from Everett. The titular song, a Western swing kinda thing, features the Gang’s mission statement: “Just can’t help it/That’s why I’ve got to sing.” Next up is “Full Moon Cataluna,” a drowsy ballad with some nice pickin’ from Wilson and beautiful harmony vocals from Rachel. “Happy Boy To Be Your Man” is kind of a small band version of Squirrel Nut Zippers’ updated take on the Hot Jazz scene of the 1930s. The call and response duet vocals and upright piano (supplied by guest artist Chris Baracevic) add a distinctive flair. “Bank Despair” is a slow cookin’ hillbilly boogie-woogie number, the kind of tune that coulda ended up as a production number in a ’30s or ’40s comedy.
As dichotomous as the assertion sounds, “Better ‘Bout You” is a howling harmonica honk with a down-home Southern Gospel feel. “Won’t Get Lost” has a classic rock vibe but, the traditional swing instrumentation turns it into something uniquely Loot Rock Gang. The ’50s style rocker “My Gal Friday” channels a ’30s Western jump vibe. A skittering guitar leads the strolling waltz of “The Wrong Kind,” a number highlighted by particularly effective vocals. “Love For My City” is the sound of a small jazz combo performing a country stomp in honor of their hometown, the StL. The song “It’s You That I Do Enjoy” features a rather odd vocal and comes off as a weird homage to the original AMERICAN BANDSTAND theme song. “Trinidad,” as the name implies, has a wistful Caribbean vibe with a beautiful guitar intro and outro. Various Gang members have played and toured with kindred spirit Pokey LaFarge, honing their already razor-sharp talents to the pinpoint brilliance displayed on THAT’S WHY I’VE GOT TO SING, a debut that definitely bodes well for the future of the diverse Saint Louis music scene in general and Loot Rock Gang in particular. I, for one, cannot wait for the next chapter in this band’s story. I’m sure it’ll be a blast! For now, though, you can listen to and purchase THAT’S WHY… in your choice of CD, vinyl or digital formats at the group’s Bandcamp page.