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With Superdrag calling Knoxville
home, it takes more than average-sized...uhhh...intestines to
hang up your shingle as a power pop band. The Westside Daredevils
have hung out their shingle and a line of customers is already
forming. While Rolling Stone may not have gotten the word
yet, the Daredevils have already received a slew of notices in
the indie music press for the DIY All Things Small Produce
a Spark.
There is nothing small about their sound. The harmonies are
sweet while the songs and melodies are generally smart and catchy
like good pop songs are supposed to be. The harmonies sound like
the best late '60s stuff from bands like The Cyrcle, or maybe
Simon and Garfunkel when they'd bounce along to the 59th Street
Bridge. One gets the impression the Daredevils are more than
casually familiar with "Feelin' Groovy" "Red Rubber
Ball."
Repeated listening reveals that the Daredevils cover lots
of stylistic ground. The playing is fresh, occasionally edgy,
and never enters the dreaded "retro" zone, although
it is easy to recognize stylistic echoes from any number of outfits,
particularly Flaming Lips and Big Star. Although they did most
of the recording themselves, the Daredevils show considerable
Beach Boys influence in their recording and arranging technique.
While they tip their hats to Queen, the ultimate power pop band,
in the intro to "Andrea," some of the tracks, like
"Darling Currency" and "London Forces" are
lilting, lush, and smooth, and others like "Camera Religion"
and "Careful Tom" have a lot in common with some '60s
English bands as the Daredevils roll up their sleeves and exerts
themselves in the Superdrag fashion.
The lyrics aren't printed on the liner notes, so the ears
need to be fully de-waxed when listening to the tongue-tripping
vocals of guitarists Brett Cassidy and Gray Comer or keyboardist
Jeff Caudill. Their rowdy, jangly, fuzzy, playful, and lyrically
complex "Strange You Haven't Fled" is cause for several
what-did-they-just say shakes of the head and repeated wrestling
for the meaning.
God save the Queen of Conspicuous Consumption
To his credit, he's well made
That's just what they'll all say
When they bury him alive and spit upon his grave
With blood upon their hands and smiles across their faces
l forgive you, son
Little boys break all the rules
While little girls keep waiting on them
The Daredevils are at their best when they let the horses
run, whereas some of the quieter numbers are borderline tedious
or artily pretentious. I'd rather hear them rock than do their
soft, serious material, which tends to sound rather generic.
Tracks like "Miner's Shortwave" and "Mind's Cold
Sweat" sound meaningful but come across as a bit naïve
and overly arty (of course, I thought that about Pink Floyd and
they sold a few records). The Daredevils get interesting when
they do the jangly bubblegum pop-rock of the sly ménage
a trois saga of "London Forces" or the sympathetic
and bright "Andrea." But their best, most potential
laden mode is the bigger, more muscular, slightly sinister rock
sound they create on "Careful Tom" or "Camera
Religion," with its "Journey to the Center of Your
Mind" barroom rock riff, its British influence vocals, and
it's punchy lyric.
September girl
It's January
You sucked
Down all the attention
A while ago
So hostile
So unnecessary
Whatever
Ain't that something
If you say so
Oh, no
That girl's got
No soul
The Westside Daredevils have done their homework and it shows
in what is an impressive DIY debut recording. Recently signed
to former V-Roy Jeff Bills' Lynn Point label, their next disc
should be worth looking up as they will undoubtedly learn from
the several successes and a few misses on All Things Small
Produce a Spark. They seem to be making quite an impression
in Knoxville, which has long been a challenging proving ground
for young bands.
www.lynnpoint.com
www.westsidedaredevils.com
© 2002 William Michael Smith
Contact William Michael Smith at: wms-at-rockzilla.net
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