Discovering new music and artists that you truly enjoy listening to is one of the percs of this business. It makes you wanna hear more, delve into the back catalog; above all, you find yourself anticipating where the artist will take you with the NEXT release. However, in a world where many a band are increasingly more of the one-and-done variety, perhaps toiling away in virtual obscurity, playing random small clubs and house shows in their own backyards, it is becoming harder and harder for artists to deliver that next single, EP or album. 42 Decibels is one of those bands I came to late, picking up on their sophomore release, ROLLING IN TOWN a couple of years back. To say that I was heartened to discover record number three in my in-box would be a gross understatement. The question is, though, does it live up to my preordained hype? I say yes but, I’ll leave you to judge for yourself.
Believe it or not, OVERLOADED does have an overarching theme, though not a particularly high-minded one. The title is derived from the band purposely pushing their equipment to its absolute limits, intentionally burying the VU meter in the red causing varying degrees of distortion. They get right to their task with “Whiskey Joint,” a Ramones/Misfits punky kinda vibe. With the ghost of Bon Scott howling over an infectious groove and Glen Buxton’s poltergeist offering up a “spirited” solo, it’s possible that these guys just might have a future in the rock ‘n’ roll game. “Dangerous Mess” is a swampy AC/DC sort of thing that helps add to the Bon Scott comparison. Just to make sure everyone is well aware of 42 Decibel’s influences are, there’s a sloppy Angus-like solo to liven up the final 45 seconds. On “Brawler,” the insistence of Nicko Cambiasso’s drums pounding out a rather primal beat, I am put in mind of a Gary Glitter tune; while it may not be as anthemic as a Glitter song, it is a lot of fun. “Roadkiller” is another on of those chuga-chuga AC/DC foot stomper with a monster riff. However, vocalist Junior Figueroa has traded in his good-time Bon Scott sound for the more menacing style of the incomparable Alex Harvey. The cut features yet another solidly rockin’ solo from redoubtable Billy Bob Riley. There’s a slightly heavier vibe (if that is even possible!) on “Hot Shot.” Think Steppenwolf or, maybe Deep Purple, but without the keyboards. Matt Fraga offers a massive, fuzz-infused bass sound that could very easily substitute for the heavy organ sound of either Jon Lord or Goldy McJohn, while Billy Bob’s lead work and slide solo are wicked cool.
The punk groove, seemingly left for dead after “Whiskey Joint,” is back on “Half Face Dead,” hanging out behind some seriously heavy riffage. I’m not exactly sure what “Half Face Dead” means, but it sounds kinda evil, in a villainous Harvey Dent kinda way. “Lost Case” has a brighter, springier (dare I say, “spritely?”) bounce with some more nice slide work and the return of Junior’s Harvey-esque (as in Alex, not Dent) growl. In a pared down version of THE THREE FACES OF EVE, Riley’s slide and rhythm guitars fight it out like a couple of drunk boxers for a really cool sounding “duet.” “Cause Damage” is a stompin’ Blues thing, a la Foghat’s take on Robert Johnson’s “Sweet Home Chicago” or, I guess, just about any early Foghat song. The dirty slide (man, I do love that slide guitar sound!) and pumping bass line propel the song along its slowly grinding path and helps make the track one of my favorite offerings from OVERLOADED. Another slow Blues, “Double Itch Blues,” reintroduces the AC/DC similarities – and comparisons – with loose guitar runs and Figueroa’s nearly unconscious delivery. A gutteral bass and some rather heavy-handed, if a bit lugubrious, drumming add to the slinky, slippery feel of the tune. With 42 Decibel, I’ve read comparisons elsewhere to Nazareth and, on “Cannon Fodder,” I finally hear it; the guitar work could actually be mistaken as a guest appearance by that legendary band’s highly under-rated Manny Charlton. The group picks up the tempo after a couple of slow Blues pieces, with things speeding up even more, leading to a beautifully messy terminus. I’ve gotta give a huge “Thank you” to the band’s record label (yes, those beasts do still exist), Steamhammer, for sticking with 42 Decibel throughout their – I guess you could call it their “gestation period.” So many artists find their creativity stifled by corporate heads demanding a string of hit singles right from the get-go but, Steamhammer (and their parent company, SPV) has allowed this group (and several others) to grow and evolve, much like the two bands that 42 Decibel are most often compared to. AC/DC and Nazareth – arguably – didn’t find their voices until their third albums (DIRTY DEEDS DONE DIRT CHEAP and RAZAMANAZ, respectively); I think with OVERLOADED, 42 Decibel’s third record, they have, indeed, found their voice and their groove. I cannot wait to hear number four!