“Country Girl” opens Riot City Blues with one of the most inviting album openers in recent memory. The warm guitar strumming (with mandolin accompaniment!), group chorus, and lyrics like “What can a poor boy do? / Better go back to mama / She’ll take care of you” welcomes the listener and promises good times to supersede the good ol’ blues.
The blues, as one might expect from the album title, are a central theme of the record. Well, this is Primal Scream we’re talking about, and its 2006, so boogie, honky tonk, White Stripes-ish garage rock, and other vibes help to complement the mood. While some may feel that Riot City Blues’ homage to the Mississippi Delta is severely misplaced, the opposite is true. This amalgamation of past and present musical styles succeeds on most levels. One need only listen to the fast-paced tune of “Suicide Sally & Johnny Guitar” and hear that squealing guitar solo that slithers in at about the 1 minute mark. Somehow the music sounds like a throwback to days gone by while remaining unmistakably contemporary.
One of Primal Scream’s trademarks, no matter the musical direction of their albums, has always been Bobby Gillespie’s vocals. (His singing sometimes has a quality that calls to mind that of Bernard Sumner of New Order.) While Gillespie’s lyricism may, at times, be rudimentary and occasionally embarrassing (a few tracks on Primal Scream’s XTRMNTR album were hard to swallow, lyrically speaking), it’s hard to deny his passionate delivery. Others may feel that he’s often guilty of oversinging, but at least we know his heart is in the right place. Look no further than “When The Bomb Drops” on Riot City Blues for evidence that his voice partially defines the band.
Elsewhere, he leads a chorus of female singers in “Nitty Gritty,” a funky jam with some honky tonk piano action. White soul at its finest, if there is such a thing. “The 99th Floor” contains the prerequisite harmonica accompaniment that’s probably crucial in any good natured blues rock album, plus it’s got the classic Drums And Vocals Only bridge. What prevents Riot City Blues from sounding like a joke is the fact that you can hear the band having fun in their music; it’s clear that they aren’t taking themselves too seriously, and the feeling is infectious.
“Stone Ya To The Bone” and “We’re Gonna Boogie” are funky blues rock jams. They’re just about guaranteed to make anyone want to Shake It. “Dolls (Sweet Rock And Roll),” another rollicking rock romper, has a catchiness that makes it hard to deny. It is perhaps the ultimate summer beach party song. I can imagine the song being played loudly out of an old school ghetto boom box, while the beach babes play volleyball on the sand. Mmm, beach babes. I’ll have to shelve this train of thought for the moment.
Then there’s “Sometimes I Feel So Lonely,” a song with a weepy title that seems suited for the next popular emo/pop/punk band. Gillespie’s got to be well into his forties now, but I suppose every aging rock star must believe himself to be a living fountain of youth. That’s the only reason, I imagine, as to why Bono runs in circles at every U2 concert. Despite the sentimentalism in the title, “Sometimes I Feel So Lonely” happens to be a very pretty and gentle song. With a sweeping arrangement featuring some nice mandolin and harmonica, only the most cynical among us would be unable to enjoy this recording. It even manages to call to mind one of Primal Scream’s other ballads, the classic “Come Together” from their legendary Screamadelica album.
Somewhat predictably, Riot City Blues ends with a downtempo number, “To Live Is To Fly.” The almost naïve, idealistic sentiments are a soothing come down. Think of it as the afterglow of a soul-stirring fire. While the song and sentiment may not be completely original, at least it’s wholly unpretentious. And these days, sometimes you just need a little unpretentious rock and roll to light up your life.
"Riot City Blues" is on sale June 27, 0006 from Columbia UK.
