There
is so much that's right about this record. A group that's been hovering
in the shadows for far too long steps into the spotlight and shines
the way anyone who's ever seen them live over the years hoped they
might eventually. By chance they also revive the glory of one of
the great record labels in Australian music history, Alberts (home
of the Easybeats, AC/DC, Rose Tattoo. The Angels). Alberts has been
home to a lot of other music of course, but Dallas Crane fits right
into that wonderful rock tradition. Rock or not, Alberts has been
inactive for too long. But back to Dallas Crane's album. Another
thing "right" about this record is producer Wayne Connolly. Apart
from his membership of the groups Welcome Mat and Knievel Wayne
has produced some of my favourite Australian rock/pop albums, in
particular Glide. Apart from his pop sense, he brings out the best
in the artists he works with. Finally, Dallas Crane themselves.
Plugging away for some eight years, through two indie albums, and
innumerable gigs they come to that place where they put the current
saviors of rock, Jet, the Vines, the Datsuns, Franz Ferdanand, the
Strokes, etc to shame for honestly delivered guitar dueling rock
and roll. They're not changing the rock map, but neither are they
see-through impersonators of what's already been. They're making
their own contribution. Not only do the songs rock, they're cleverly
written, and take an interesting lyrical perspective. Singer Dave
Larkin has a rock poet's heart. Listen to 'Iodine', touching a nerve
as raw as the word itself. Or 'Come Clean', begging for honesty
from a cheating lover. Vocally he's a cross between the "I'm Down"
Paul McCartney and Angry Anderson. He's got a rock and roller's
presence on stage. Lending variety is the occasional softer lead
vocal of lead guitarist Pete Satchell. Dallas Crane is the complete
rock and roll package. And this album is as good as it should be.
(Alberts/FMR)
There
is so much that's right about this record. A group that's been hovering
in the shadows for far too long steps into the spotlight and shines
the way anyone who's ever seen them live over the years hoped they
might eventually. By chance they also revive the glory of one of
the great record labels in Australian music history, Alberts (home
of the Easybeats, AC/DC, Rose Tattoo. The Angels). Alberts has been
home to a lot of other music of course, but Dallas Crane fits right
into that wonderful rock tradition. Rock or not, Alberts has been
inactive for too long. But back to Dallas Crane's album. Another
thing "right" about this record is producer Wayne Connolly. Apart
from his membership of the groups Welcome Mat and Knievel Wayne
has produced some of my favourite Australian rock/pop albums, in
particular Glide. Apart from his pop sense, he brings out the best
in the artists he works with. Finally, Dallas Crane themselves.
Plugging away for some eight years, through two indie albums, and
innumerable gigs they come to that place where they put the current
saviors of rock, Jet, the Vines, the Datsuns, Franz Ferdanand, the
Strokes, etc to shame for honestly delivered guitar dueling rock
and roll. They're not changing the rock map, but neither are they
see-through impersonators of what's already been. They're making
their own contribution. Not only do the songs rock, they're cleverly
written, and take an interesting lyrical perspective. Singer Dave
Larkin has a rock poet's heart. Listen to 'Iodine', touching a nerve
as raw as the word itself. Or 'Come Clean', begging for honesty
from a cheating lover. Vocally he's a cross between the "I'm Down"
Paul McCartney and Angry Anderson. He's got a rock and roller's
presence on stage. Lending variety is the occasional softer lead
vocal of lead guitarist Pete Satchell. Dallas Crane is the complete
rock and roll package. And this album is as good as it should be.
(Alberts/FMR)