In a time of retromania, Nick Waterhouse has the scene on lockdown, both updating the rocker with glasses look of Buddy Holly and the dapper sartorial style of Mad Men, Waterhouse’s debut LP Time’s All Gone echoes the early 60’s music scene not only with it’s classic album cover style, but with the gritty blown-out R&B concoction that made parents worry about the sexual willies of rock & roll. Waterhouse doesn’t care if you decide to film from the waist-up though, he’s a man’s man, the one who steers away from clear liquors and revels in dark bars and whiskey shots straight up. For every part that Mayer Hawthorne is evoking he clean cut soul of Smokey Robinson, Waterhouse focuses on the dirty fuzz of R&B that the Rolling Stones called home, and at the ripe young age of 25, he’s only just getting started. “Indian Love Call” has that old school swagger straight from the start, the uplifting guitar, the cooing background vocals, the sabulous sax and a dark live sound. Be sure to check out his album opener, “Say I Wanna Know” as well.
Maxwell dominates the song with a Marvin Gaye like croon and the backing is excellent, soft but not too soft (a problem that most neo soul suffers from) and well crafted and placed vocal harmonies. Some nice Curtis Mayfield styled horn work on this one too.
In prior days, I wouldn’t have listened to the song on the assumption from the name alone that it was some average metal band but whether it was out of ironic intention or not this band sells itself short by its name. Take Marc Bolan’s singing (from T-Rex…Bang a Gong) with a little of David Bowie and song structure and back it with absolutely beautiful (Pink Floydesque) instrumentation and you might have an idea what these guys are like. Best use of a pitch bender i’ve ever heard.
In this day and age instrumental, or in this case mostly instrumental songs are few and far between in rock bands, whether its because everyone’s focused on producing a hit single or they don’t have the instrumental ability its hard to say, however this song is nothing short of masterful. Pastoral and vast and never predictable.
The Dead as much as they have their rabid following, also have their numerous detractors saying they often weren’t cohesive as a live band, noodling on drug fueled jams that didn’t always work, however all parts are in fine form here, taken from the Europe ’72 Double LP and Jerry Garcia contributes a fine succinct guitar solo along with it.
Country is so often overdone in lyrical themes, drinking and heartbreak, but this organic production brings a new interest to this listener, the lyrics are understated, not overwrought and its one of those melodies that will keep with you for weeks.