Category Archives: Vinyl records

THE RATCHETS – First Light

January 01, 1970

Pirates Press

www.piratespressrecords.com

BY JOHN B. MOORE

New Jersey has long been the farm team for punk rock bands. Everyone from The Bouncing Souls to Gaslight Anthem have hailed from one city or another off the NJ Turnpike before going on to spread the punk rock gospel to the rest of the globe. The Ratchets prove yet again with their latest LP, First Light, that the Garden State is still churning out punk rock’s best and brightest.

Relatively MIA for more than a decade after the 2006 release of their debut, the band is back – a little older, but just as promising as that debut that brought about more than a few comparisons to The Clash. On First Light those Clash influences are still front and center, as well as some of Joe Strummer’s more thoughtful later work. You can also hear a hint of Springsteen’s influence on the lyrics all across this one, as well. (You  didn’t think I could write about a Jersey band without at least one Springsteen reference, did you?)

But there’s also plenty of other elements here that make the band sound impressively original: the Bluesy guitar riffs on “Drone Control,” the ‘70s hard rock vibe of “2-4-6-8 Motorway” (a cover of the Tom Robinson Band punk classic), and Jed Engine’s sandpaper rasp vocals that were made for punk rock. The band manages to flawlessly bridge the political urgency of late ‘70s British punk rock with modern concerns.

Crammed with memorable hooks, air guitar-worth riffs and whip sharp lyrics, First Light finds The Ratchets back in fighting form and, if this record is any indication, ready to take over the world.

DOWNLOAD: “Drone Control” and “2-4-6-8 Motorway”

RSD Black Friday Vinyl: Perry Serpa’s “Songs Inspired By Nick Hornby’s Juliet, Naked ” (Schoolkids Recs)

By Blurt Staff

So hopefully you read our recent feature/interview with singer/songwriter (and longtime music industry icon) Perry Serpa: “ABOUT A SONGWRITER: Perry Serpa does Nick Hornby.” As contributor John Moore wrote:

Perry Serpa, singer/songwriter best known for his work with the brilliant indie pop band The Sharp Things (profiled in 2014 at BLURT),  has brought fiction to life with his latest project: Wherefore Art Thou? Songs Inspired By Nick Hornby’s Juliet, Naked. Admittedly we’re treading pretty close to Being John Malkovich territory here, but Perry’s record (10 songs, just as described in the book) is simply sublime. Getting help from a number of his friends, Perry was even able to convince Scott McCaughey (Young Fresh Fellows, Minus 5) to guest on a track. McCaughey, fittingly, is one of the musicians mentioned in Hornby’s book who played on the (fictional) Tucker Crowe tribute album… take a moment to let that sink in.

The album arrives today on vinyl LP as part of the annual Record Store Day Black Friday event, courtesy our sister business, Schoolkids Records. Below is the press release from Schoolkids. So get off your butt, go support your local independent record retailer, and check out Mr. Serpa!

————————————————–

“Magnificent. I love every song, words and music. It works completely on its own terms and sounds complete in a way that very few albums do anymore.”
-Nick Hornby


“The mid-70s derived hooks and instrumental flourishes are plentiful, but the standouts, fittingly, are the bookends: opener “And You Are?” features a Dylanesque vocal by Scott McCaughey of The Minus Five and the seven-minute closing opus, “You And Your Perfect Life” recalls Ray Davies at his most conceptual.”  
UNCUT


“From Wuthering Heights to Paranoid Android, there’s no shortage of songs inspired by works of fiction.But how about making an entire record based on a fictional album that’s described in a novel? That’s what Perry Serpa has done with Wherefore Art Thou? – a collection of unorthodox, literate indie songs built around clues scattered throughout Nick Hornby’s 2009 book, Juliet, Naked.”
 –BBC NEWS

“Now, Perry Serpa, singer/songwriter best known for his work with the brilliant indie pop band The Sharp Things… has brought fiction to life with his latest project: Wherefore Art Thou? Songs Inspired By Nick Hornby’s Juliet, Naked. Admittedly we’re treading pretty close to Being John Malkovich territory here, but Perry’s record (10 songs, just as described in the book) is simply sublime.” 
 BLURT

“What’s most impressive about Wherefore Art Thou? is that it’s mostly Serpa by his lonesome, creating not only a great album but also one that holds its own with its source material.”
 –MAGNET

“The album covers a wide range, stylistically, but they all sport Serpa’s smart songwriting.”

NO DEPRESSION

““And You Are?” is the opening track on the imaginary album, so likewise opens Serpa’s. And what a wonderful, evocative piece of retro, semi-baroque folk rock it is.” –FINGERTIPS MUSIC

Serpa notes, “The album is my version of the fictional album described in ‘Juliet, Naked’. I sang & played most of the instruments, but it also includes guests like beloved Americana singer/songwriter Laura Cantrell, Aja Warren, Edward Rogers, Don Piper and my son, Aidan, playing some mean lead guitar. A brilliant fellow named Ron Raymond played slide guitar and m’man James Pertusi mastered it and helped me record some of it as well.”

CURSE OF LONO – As I Fell

Album: As I Fell

Artist: Curse of Lono

Label: Submarine Cat

Release Date: August 17, 2018

http://www.submarinecatrecords.com/

The Upshot: With the band’s 2017 album, Severed, already in the BLURT hall of musical fame, we now turn to their kickass 2018 entry.

BY JOHN B. MOORE

Every once and a while you stumble on an amazing band that is so frustratingly under the radar that it makes you question the very concept of justice. The London-based five-piece, Curse of Lono, is one of those bands.

For three albums now, spread across the past three years, the band has turned in one nearly-flawless record after another and aside from the cheers coming from music reporters, some Americana devotees and record store nerds, the ripples in the pop culture lake never seem to go beyond one or two rings. The band’s latest effort, As I Fell, continues their streak of brilliantly simple and simply brilliant blend of Americana and Gothic Alternative Rock. Though the band has never been accused of being overly raucous, As I Fell finds the band at their most subdued, bringing about a strong Dylan vibe throughout the 11 songs here.

It seems almost unfair to single out one track from the next as the record is nearly devoid of any filler material. The band instead opts for creating a deeply moving Southern Gothic (yes, I realize they’re from London) sound that recalls everyone from the Cowboy Junkies to Nick Cave.

It sort of makes sense, given the remarkably twisted political world we are currently living in, that one of the best bands out there is not getting the attention it clearly deserves. Here’s hoping change is coming soon, on all fronts.

DOWNLOAD: “Blackout Fever” and “As I Fell”

 

Celebrate Record Store Day’s Black Friday Sale w/Schoolkids Records!

It’s that time!

Join Schoolkids Records Nov 22 for Black Friday 2018! Kick off the holiday season in high style. We will have a giant selection of picture discs, 7″ singles, rare and unreleased music. From A Perfect Circle to The Zombies, these are one-time only releases. Once they sell out, they are gone forever! you can view all the Black Friday releases here.

For those who do not know, Record Store Day was created to celebrate independently owned record stores. It’s day to bring the community together to celebrate the love of music. Records are pressed in specifically for this day. They are limited in the number pressed as well. These releases are only available at stores participating in RSD.  For many of these releases, it is the first time they have been available on vinyl. Unreleased music, live performances and picture discs from a wide variety of artists and genres highlight the day. Both of our locations will be open at 8 am.m to celebrate this day of friendship, love and music!
And yeah, Schoolkids is the Blurt sister business, so whattaya waiting for? Go get in line!

Discogs Online Music Marketplace Starts “Exclusives” Sales Site

Vinyl collectors, and maybe even a few cassette nuts, start your saliva engines!

By Barbi Martinez

The well-regarded music collectors’ portal Discogs – which operates as a user-friendly alternative to eBay and other online marketplaces – has been for months teasing it would be launching its Discogs Exclusive companion site. As The Vinyl Factory details:

The new platform, now in its beta phase, will sell a range of rare and limited release vinyl and cassette offerings including test-pressings, special editions, out of print fare and warehouse finds. So why start a separate marketplace for these items? Discogs’ Jeffrey Smith explains:

“We would have intense conversations with people working within the indie/major label communities; people who were Discogs devotees and passionate collectors themselves. There was a common story evolving. They have access to something neither we nor the Community have access to: test pressings or tiny amounts of out-of-print stock that can be hard to find — even in our own Marketplace. It felt like there had to be something we could do to help bring this stuff into the open for collectors everywhere, not just those with connections.”

Among the initial offerings (some of which have already sold out): limited cassette box sets of filmmaker/scorer John Carpenter, and White Stripes vinyl test pressings. (Guess which sold out immediately….)

Intrigued? Go to: https://exclusives.discogs.com/

KING BROTHERS – Wasteland

Album: Wasteland

Artist: King Brothers

Label: Hound Gawd!

Release Date: October 05, 2018

https://www.houndgawd.com/shop/en/SHOP/Vinyl/King-Brothers-Wasteland.html

BY JONATHAN LEVITT

I don’t often say it but where has this band been all of my life? Imagine this, if you take the John Spencer Blues Explosion’s unvarnished primal rock and the Miracle Workers’ bluesy stomp and grate a bit of Jim Jones and the Righteous Mind on top and then place it into a 350-degree oven and bake ‘til doomsday you might come up with the band King Brothers. I’m always impressed by bands from Japan that seem to possess an encyclopedic knowledge of a very specific style of rock and instead of being just mere imitators, are able to synthesize and place their own distinct stamp on it.  “Wasteland” is a stormer of an opener that is groovy and menacing at the same time.  And if you thought that couldn’t be beat then get ready for the barn burner of a tune “Bang! Blues” this song brings the goods, distortion cranked to 10, reverb, and that wonderful stutter snare roll combines for one mega crack to the dome. “Break on Through” is a thundering cruise down Route 66 heading to that rumble just outside the city limits and when the melee ensues, it goes down in slow motion, fists flying and blood spraying the scene.  “No! No! No!” cops the melody from The Who’s, “My Generation” but is more of a balls to the wall affair, I like the tune but wonder what the reasoning was for so transparently lifting from a band that seems to inform little of the bands oeuvre. What I don’t question is the lifting of the woo woo’s and partial song title from The Stone’s “Sympathy for the Devil” on the track “Sympathy for Xxxxx”. Given the album’s musical leanings, this makes a lot more sense, because it’s obvious that The Stones’ brand of blues rock informs certain elements of Wasteland. This is a truly impressive album and one which has been on constant rotation here in my office. This high-octane record is truly worth acquiring and if the band comes to the states I will be first in line to see them.

DOWNLOAD: “Wasteland” “Bang! Blues” “Kick Ass Rock” “Break on Through” “Sympathy for Xxxxx”

Watch the video for “No Want” elsewhere on the freakin’ BLURT website…..

 

THE MORLOCKS – Bring On The Mesmeric Condition

Album: Bring On The Mesmeric Condition

Artist: Morlocks

Label: Hound Gawd!

Release Date: August 31, 2018

 

https://www.houndgawd.com

2nd gen garage/psych monsters, now based in Germany, deliver a sonic shiv guaranteed to leave you in some knida “condition”,,, Check out some choice audio, below.

BY BARRY ST. VITUS

Be very excited, or perhaps, scared stiff, as the night-lurching Morlocks have returned from suspended animation with an explosive new album of soul-shredding raucous ‘n’ roll.

No matter their rotating line-ups over the decades, Leighton Koizumi and his band of Morlocks have continuously stood out as the most twisted fuck-ups, and undisputed champs of Gen.II of the ‘60’s punk and garage genre. Their sound has always stayed true to their school of The Stooges, MC5, Wayne/Jayne County and the Electric Chairs and so on. You know, the Good Stuff. With those influences, the absence of puny paisley pop, and Leighton’s ferocious puma-growl vocals, their live shows have never failed to decimate their audiences.

Based now in Germany, The Morlocks’  B.O.T.M.C. is the first new album is eight years, since the well-played The Morlocks Play Chess, ripping singeing covers of classic songs from the label. Now, assembled in studios in ‘various secret locations,’ an exceptional assemblage of heavy hitters; Marcello Salis –guitar (Gravedigger V,) drummer Rob Louwers (Q65, Link Wray, Fuzztones,) Oliver Pilsner – bass (Fuzztones,) and Bernadette –guitar (The Humpers.) Ex-Dirtbombs bassist, Jim Diamond produces, bringing a Motor City greasiness to the project. He also produced early White Stripes stuff. The end project is 34 minutes of ear-blasting, eye-popping and mind-mangling originals.

The mangling starts with “Bothering Me,” a late-sixties-era Stones-type basher that’s infectious in the extreme. “We Can Get Together,” struts off into N.Y. Dolls territory, keeping the high energy up. “Heart of Darkness,” really knocked me over, a very “Repo Man” kind of vibe going on. With maturity, Leighton’s voice has mellowed down to Iggy’s baritone level, like a charcoal-lined keg of aged whiskey. The first truly garage-punk number presented is “No One Rides For Free,” sounding like something Jayne County might do. Dirty blues-tinged punk is served up next with ”Down Underground.”

“Time To Move” really whips things up in a Iggy/Stones-flavored mash-up that will most likely kick your ass to Mars.  “One Foot In the Grave” rides pretty close to classic Morlocks material, with lots of snarl and slathered with Iggy and Flamin’ Groovies attitude. The first real fuzz-bomb to drop is “High Tide Killer,” which is reminiscent of a lot of the stuff exploding out of Sweden in the ‘80’s. Killer indeed! The hyper-energetic “Easy Action” is led off by a long drum beat intro, then power chords, and having the flavor of the Saints throughout, really cranking up the power-juice. The album closes with perhaps the best of the batch, a song that anyone who ever caught The Morlocks live in the ‘80’s will certainly remember, “You Don’t Know” which has been dusted off and polished to a high sheen, as well as tricked out with some of that electric jug sound innovated by the Elevators. This one is a real gem, folks!

All said and done, B.O.T.M.C. makes for an outrageous return for The Morlocks, and is easily their most sterling work to date. The material, the playing, and the production are incomparable in this genre or other hard-rock of late. The album could proudly take its place on the record shelf next to the catalog of almost all of the aforementioned bands and pretty much hold it’s own. Substance-wise it lives up to what it aspires to.

DOWNLOAD: “You Don’t Know,” “Heart of Darkness,” “High Tide Killer,” and “Easy Action.“

 

 

 

THE HASBROS – Cart Before the Horse LP

Album: Cart Before the Horse LP

Artist: The Hasbros

Label: Hasbin Music

Release Date: April 27, 2018

www.thehasbros.com

The Upshot: Indie outfit gets a chance to revisit its alt-rock heyday and update it for the modern era—but without sacrificing the freshness and energy that must have originally marked them.

BY FRED MILLS

Everybody loves a beat-the-odds, coulda-been-a-contender comeback story, and this one’s as sweet as they come. Hailing from the late ‘80s/early ‘90s NYC alt-rock scene, the Hasbros were briefly positioned for greatness, notching a few high-profile compilation appearances and attracting both label interest and college radio airplay, but, as cofounder Bob Hanophy drily notes in his liners to this much-belated LP, “it just wasn’t meant to be,” and the band split before releasing a full-length. Old story, right?

The members went on to various endeavors—the collective C.V. includes outfits like King Missile, Red Hare, Retisonic, and Garden Variety, as well as numerous solo recordings—and then, in a combined fit of restlessness and celebrating a birthday, Hanophy put out the call for a one-off reunion gig. “Everyone agreed to play and we had a blast,” he writes. “Amazingly, it sounded better than ever before and we decided to finally record the LP that we had always wanted to.”

Ergo, Cart Before the Horse, subtitled “the difficult first record” and issued by the band’s tellingly-named label Hasbin (get it?) Music. Hanophy (guitar/vocals), along with Ken O’Connor (guitar/bass), and Joe Gorelick (drums/vocals) have clearly recaptured their sound, and I say that without even knowing what their “sound” was. One detects vestigial traces of classic ‘80s janglepop in midtempo rocker “Later On” and the somewhat R.E.M.ish opening track “For the Best,” which has a careening, soaring quality that would’ve undoubtedly made the band a college radio darling. Husker Du was also an obvious influence upon the musicians, what with the blazing, yet richly melodic “Kenny” and the equally powerhouse punk anthemism of “Nothing At All” (which is also reprised among the bonus tracks as a low-fi-but-equally-blazing live cut from 1988). It would be easy to play spot-the-influence on numerous tracks here, but the larger point is that these guys internalized the lessons of their era and had the songwriting talent to craft material that, while reverential at times, was still wonderfully unique and deeply emotional. Listening to Cart… is like rediscovering a favorite album from back in the day and realizing that you’d also stashed a tape of unreleased material from the same sessions, tunes that are every bit as strong as the ones you remembered and cherished.

The vinyl LP is lovingly assembled with a full-color insert crammed with vintage photos, including a rather affecting pair of b&w shots that show the three musicians as they were in 1989 (see image at left), and then again in the current era, the former image all fresh-faced indie enthusiasm, the latter suggesting a satisfied “mission finally accomplished” attitude. (The download card contains four bonus tracks as well—nice touch, that.) Indeed, this is how a good rock ‘n’ roll story is supposed to turn out: not with recriminations and missed-opportunities-lamented; and not with lawsuits, overdoses, and the proverbial one-breakout-star-success; but with old friends remembering the magic they once made and can somehow still make, and determined to be the ultimate authors of the story rather than some music critic looking for some good-ol’-days/where-are-they-now nostalgia piece.

Here’s hoping the Hasbros have more chapters they intend to write.

DOWNLOAD: “For the Best,” “Kenny,” “That I Know,” “Nothing At All (live 1988)”

JOHNNY IRION – Driving Friend

Album: Driving Friend

Artist: Johnny Irion

Label: self-released

Release Date: May 18, 2018

www.johnnyirionmusic.com

The Upshot: Americana-tilting indie rock awash in glorious harmonies and melodies that’ll leave you humming them throughout the day. Available on both CD and sweet vinyl, incidentally. Check out some audio and video from the album, below.

BY FRED MILLS

Erstwhile North Carolina resident Johnny Irion—we here in the Tar Heel state are still proud to call him one of ours—has been blessed not once, but twice: First, he was born with one of the richest, sweetest singing voices on the planet, something that was evident even back in the ‘90s as frontman for Queen Sarah Saturday and, later, a member of Dillon Fence; and secondly, he married one of the richest, sweetest singing vocal foils on the planet, Sarah Lee Guthrie, of the not-too-shabby Guthrie family, and with whom he has released several must-own albums that have made the duo beloved by Americana fans. When Irion sings, he soars, period, and when the duo swap verses and harmonize, they’re not merely the latest living example of what Gram ‘n’ Emmylou taught us all those years ago—they brush the gates of heaven.

For Irion’s latest solo album, he doesn’t merely uphold the high musical and literary (did I mention that his family tree includes a granduncle named John Steinbeck?) standards he’s evidenced to date—he stakes out a permanent piece of sonic serendipity that any singer-songwriter would die to lay claim to.

This is evident on Driving Friend from the get-go, on the gently waltzing “Emily’s” where Irion, switching effortlessly between tenor tones and an upper-register, almost-falsetto, “whoo-ooo-woo…” croon, sketches indelible images of a changing South Carolina coastline that will ring true to anyone from or familiar with the region:

“Sun going down on the Intracoastal Waterway
We were Fripp Island bound
Sentry at the guard post said we had to go away
It’s a private community now
So we beat it down the road for peanuts and some cokes
Looking for a sunset for free
Came across an old boardwalk
Surrounded by the marsh
Seagulls wheeling over you and me
That old shuttered church
Sure been burned down
Spanish moss hanging all around…

Much later, in the penultimate, title, track, Irion sets in motion a gospellish reverie amid a piano/strings arrangement which, buoyed by angelic backing vocals, lends an uncommon intimacy to his lyrics:

“There’s no other place I’d rather be than right here this morn
Your arms surround me like branches sprouting from our soul
I’ve been close before, but nothing like this
Only tears produced from my eyelids
But you’ve got everything I need and more.”

In between, you’re treated to sundry gems, from the Laurel Canyon folk-pop (think: CSN meets Brian Wilson) of “Salvage the Day” and irresistible pedal steel-and-twang-powered country rocker “Once in a While,” to the stoned, Muscle Shoals-styled swamp-funk of “Cabin Fever” (here, the backing vocals once again perfectly complement the material) and a luminous ballad bearing the wholly apropos title “Angels Sing,” another tune marked by some wonderful piano-and-strings playing (it brings to mind Wildflowers-era Tom Petty). Throughout, Irion and band maintain a consistent, reassuring low-key vibe that serves as a contrasting force to underscore the cinematic richness of the lyrics. Pitching in musically are members of Dawes, Wilco and the Mother Hips, so the sonics are stamped firmly with the trademark of quality.

That twinned quality, wedded to the aforementioned Irion pipes—which at times stroke the ear canal like pure sonic velvet, nary a note out of place—create the type of musical magic so often missing from today’s indie rock and Americana artists, many of whom mistake angst for passion, or substitute lazy “got up this morning/wrote you a song” lyrics for true storytelling. Ultimately, Driving Friend simply wants to be your friend, a musical handshake and a hug from one of our most gifted songwriters. Don’t be shy, folks—return the embrace.

DOWNLOAD: Driving Friend,” “Forever Wingman,” “Cabin Fever,” “Salvage the Day

 

GIANT SAND – Returns to Valley of Rain LP

Album: Returns to Valley of Rain LP

Artist: Giant Sand

Label: Fire

Release Date: August 10, 2018

www.firerecords.com

The Upshot: “Had an accident last night on Highway 95…” Howe Gelb & Co. revisit the band’s 1985 debut in classic freewheeling Gelb fashion. Go HERE to read our new interview with Gelb, in which he discusses his thumbing through the back pages and his long, colorful career.

BY FRED MILLS

It was just three years ago when England’s Fire Records, as part of their ongoing back catalog overhaul of Giant Sand and Howe Gelb, reissued G.S. debut Valley of Rain, remastering and expanding the 1985 gem (as “Beyond The Valley of Rain”) for a 30th anniversary edition. Included were extensive, fresh liner notes penned by Gelb, who duly related a conversation with his dear friend Rainer Ptacek, the late Tucson slide guitarist and songwriter with whom he’d formed Giant Sand precursor Giant Sandworms in the early ‘80s, and who would appear on many subsequent G.S. albums: “Rainer was right,” wrote Gelb, “when he said we need to make a music that won’t embarrass us ions from now (he tended to teach without really teaching).”

Prophetic—and well-taught/learned—words. Valley of Rain, whether in its original Black Sand Records/Enigma iteration or the aforementioned 2015 edition that boasts a bonus disc of outtakes and proximate live material from ’86 (the latter with Ptacek in the lineup), more than simply holds up to this day. It’s as seminal as other Amerindie titles from that period, notably the desert rock/proto-Americana and neopsychedelic/Paisley Underground scenes of the mid- and late-‘80s that included the Dream Syndicate, Green On Red, Rain Parade, Sidewinders, Zeitgeist, etc. And apparently Gelb made a similar determination in 2018 that, even after helming more than 60 albums to date, VoR was worthy of the proverbial Stetson-tip. Ergo, Returns to Valley of Rain, a track-by-track re-recording—with some notable tracklist shuffling—of the ’85 platter.

From time to time you hear of artists who gripe about this-or-that’s earlier release’s faults and how they’d love to attempt a re-do. Once in awhile they might actually go through with the threat—among the adapters, for better or less, Camel, Girlschool, Mike Oldfield, Car Seat Headrest, Suicidal Tendencies, and a slew of metal bands—but more often they simply settle for re-cutting individual songs and, of course, trotting out the “classic album done live” trope, once a mainstay of ‘70s classic rock icons but, nowadays, a staple of the touring-circuit scene. (Not to mention the bread-and-butter of tribute bands, who bank on the enduring appeal of, I dunno, Beatles/Doors/Pink Floyd and Sublime/G’n’R/Phish appeal to keep their mortgage payments up to date.)

Howe Gelb, though, has the luxury of (a) never releasing an album considered so commercially iconic that going the contemporary remake/remodel route would be a reputational risk; and, (b) having a uniquely dedicated fanbase that both knows his records and understands how being a Gelb/G.S. fan means enjoying and trusting the songwriter’s freewheeling, freeform view of his own back catalog. It’s no secret that Gelb takes a Dylan-like approach to song-selection and –rendition.

Returns to Valley of Rain, then, is a start-to-finish delight. It’s technically a re-do of the original UK cassette version of Valley of Rain, which had 11 tunes compared to the 10-song US LP. (Fire’s 2010 CD reissue added a pair of bonus tracks prior to their full-blown expansion in 2015.) And as noted above, it also toggles the track order; for example, where the original album opened with the title track followed by “Tumble and Tear,” the new one reverses the pair, effectively making the latter a kind of brusque overture/prologue that sets up the deeply anthemic groove of “Valley of Rain—with its irresistible riff, memorable melody, and honeyed harmony vocals from Annie Dolan—as a thematic focal point for the album.

RtVoR rocks its desert ass off from start to finish, whether we’re talking about the straight-up Nuggets-worthy garage of “Man of Want,” the almost-but-not-quite metal of “Black Venetian Blind,” the lumbering Old Pueblo howl that is “Barrio,” or the aforementioned “Tumble and Tear,” a Jurassic stomp which, over the years has become a genuine show-stopper (check this relatively recent live version for proof).

Produced by Gelb and Gabriel Sullivan—a musical savant in his own right who came on board with Giant Sand as guitarist a few years ago—Gabriel Sullivan, and featuring guitarist/vocalist Dolan, veteran Tucson drummer Winston Watson (who is also a Dylan band alumnus), and regular Giant Sand bassist Thoger Lund (plus, on a couple of tracks, Kid Congo Powers and original G.S. bassist Scott Garber), the album’s a must-hear for any longtime fan of the band. Intriguingly enough, it also can serve as a righteous introduction for newcomers to the Gelb oeuvre, which has been known to swerve all over the rock ‘n’ roll highway, sometimes to the discombobulation of less-discerning ears and sensibilities. This album, though, is about as straightforward as Gelb gets, and it also sounds like it was a helluva lot of fun to make. In my book, that impossible-to-quantify quality will always be a selling point.

Available on digital, CD, black vinyl, and sweet limited edition blue wax (plus, from Burger Records, limited edition cassette), and with a download code, it’s an essential addition to the G.S. collection.

DOWNLOAD: “Barrio,” “Tumble and Tear,” “Death, Dying and Channel 5,” “Valley of Rain”