(BLOODSHOT RECORDS; 2015)

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The debut album from Banditos, a sextet of like-minded musicians, all with disparate musical backgrounds, is everything that you would expect from a Nashville band – by way of Birmingham Alabama – and… nothing like anything you would ever expect to hear from a Nashville band. The group is somewhat of a throwback, with three distinct lead singers (founding members Corey Parsons and Stephen Pierce, as well as church-trained vixen Mary Beth Richardson) delivering on styles ranging from Rock and Roll, Gospel and Country to Soul, Rhythm and Blues and Jazz. Regardless of the musical style, the group’s hard-charging approach makes everything seem effortless and, ultimately, uniquely its own.

Banditos (Jeffrey Salter; Randy Wade; Corey Parsons; Mary Beth Richardson; Stephen Pierce; Danny Vines) (photo credit: ALBERT KUHNE)

Banditos (Jeffrey Salter; Randy Wade; Corey Parsons; Mary Beth Richardson; Stephen Pierce; Danny Vines) (photo credit: ALBERT KUHNE)

The record starts off with “The Breeze,” which has a sloppy New York Dolls/Lords of the New Church kinda sound with a Stiv Bator (or Johnny Thunders) vocal wail (from Pierce?). Cool, persistent keyboards (piano from Micah Hulscher; Farfisa from Mitch Jones) and beautifully ragtag guitar and banjo feature throughout. “Waitin’” is a disjointed Tennessee stomp with Mary Beth’s Dolly-Parton-on-helium vocals (mull that one over for a tad, folks). Pierce adds a more traditional banjo this time and Randy Wade’s shuffling drumbeat definitely gives the tune a distinct hillbilly vibe. A snotty, jazzy piece of Americana, “Golden Grease” is a slow-cooking number with a dirty guitar sound that somehow reminds me of Aerosmith. A nasty (and uncredited) harmonica part seems all but wasted, only coming to the fore for the final 30 seconds of the tune. “No Good” is a wicked Memphis Soul barn-burner with Richardson proving her mettle as one of the great Blues belters of the Rock era, purring like a kitten one minute, growling like a lioness the next. Parsons and Jeffrey Salter offer two very different guitar solos toward the end of the cut and Stephen’s displaced-sounding banjo lends a touch of the surreal to the proceedings. Corey and Mary Beth share leads and harmonies on “Ain’t It Hard,” a haunting almost-waltz with an oddly appealing melody line. Closing out the first half of the album, “Still Sober (After All These Beers)” is kind of a hybrid dose of jangly, late ’50s/early ’60s rock and roll and a Saturday night hillbilly stomp.

A Country-Jazz type of thing, “Long Gone, Anyway” is new-era Texas Swing siphoned through classic Hot Jazz. Richardson’s vocals have a certain period charm, as do Hulscher’s ragtime piano and Danny Vines’ upright bass. Mary Beth provides the solos…on kazoo. “Old Ways” is a bluesy type of torch song, a la Tracy Nelson or Maggie Bell. The players, though tasty throughout, ascribe to the “less is more” theory of musicality here, allowing Richardson’s commanding voice to shine. So, how do I describe the next cut, “Can’t Get Away?” There’s a Link Wray-like ultra-reverb on the guitar and the song itself sounds like a dirty tin-pan-alley-meets-David-Bowie kinda weird Carl Perkins Rockabilly thing… ponder that description for a while, huh? “Blue Mosey #2” is a Country stroll, with awesome interplay between Pierce’s banjo, Salter’s twangy guitar and Dan Fernandez’s pedal steel. As the title implies, the song is a heart-broken lament, Parson’s smooth vocal drawl somehow reminding me of the great Rick Nelson. There’s more critical name-checking with “Cry Baby Cry,” a great slice of rock and roll, with a cool little shuffle-break from Stephen, Randy and Danny (once more on the upright). Imagine Bill Haley with Johnnie Johnson on piano, LaVern Baker vamping on background vocals and… I don’t know… maybe Marty McFly on guitar. “Preachin’ To the Choir” is a perfect example of saving the best for last. It’s a spooky bit of Americana, highlighted by suitably strained (nearly strangled) vocals and atmospheric guitar and pedal steel. There’s also an eerie, plodding banjo that adds to the creepiness. Most of these songs have been in Bandito’s live repertoire for a few years… after jelling as a band during that time, I am stoked to see what they can come up with for their sophomore release.