Scrappy
Hamilton
Scrappy Hamilton: At Rock Bottom
Red Peters Meets Big Boy Bloater
The Deacon Moves In
Listening to Scrappy Hamilton and Red Peters Meets Big Boy Bloater
in succession, I began to think about the nature of contemporary
music that uses traditional American musical forms. Perhaps it
is unfair to compare these two discs, given that they are similar
only insofar as they both fall under the rubric or "retro
music." Yet, as different as these two discs are, they somehow
became linked in my mind. Perhaps it's cultural: Scrappy hamilton
hail from North Carolina; Red Peters and Big Boy Bloater are a
product of England's retro scene. Do Americans feel more at liberty
to throw their heritage into a blender and see what they can produce,
while Europeans more faithfully adhere to the recipe established
many years ago? there's an interesting thesis in there somewhere.
Scrappy
Hamilton's debut, At Rock Bottom (Papa-Roux), is easily
the more interesting upon repeated listening: an appealing mix
of New Orleans jazz, ragtime, and lounge, with a decidedly Beat,
stream-of-consciousness lyrical approach. In mining the same territory
as Big Rude Jake and fellow North Carolinians Squirrel Nut Zippers,
Scrappy Hamilton never feel as if they wished they belonged in
a different era. But unlike these trailblazers, Scrappy never
achieve the joyous cacophony the Zippers pull off so effortlessly,
and fall far short of Jake's musical adventurousness and twisted
sense of humor. But the musicians are all excellent, and the band
is tight and clean. The main drawback is the sameness to the vocals
throughout the disc. Singer Scott Kinnebrew's thin, raspy voice
lacks depth and range, wearing out its welcome well before halfway
through the album, leaving the most enduring song on the record
the instrumental.
Whereas
Scrappy Hamilton never feel as though they would be uncomfortable
on stage in T-shirts and tennis shoes, Red Peters and Big Boy
BLoater are all vintage clothes and vinyl. They adhere to the
jump blues formula as if there has been no music since. Their
new release, The Deacon Moves In (Spindrift) will definitely
appeal to dancers. But coincidentally, the record suffers from
the same problem as Scrappy Hamilton's: uninteresting vocals.
There's no doubt that Red peters has an impressive set of pipes,
and she is the perfect counterpoint to Big Boy Bloater's flat,
bluesy growl. But she is almost too perfect, lacking the grit
and vocal personality that make Lavay Smith and Ingrid Lucia of
the Flying Neutrinos so enduring. And while at only six songs
the disc is over before it wears thin, again the catchiest songs
on the record are the instrumentals.
Christian
Puffer
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