Before Frank Turner became a solo artist, he played in a London post-hardcore outfit, Million Dead. When that band fizzled, he decided to strike out on his own, he did so in a very different musical genre, folk rock. Five years post-Million Dead, three solo albums, and two EPs later, Turner finds himself being revered and highly sought after, easily selling out venues at home in the UK. Despite having toured stateside over the last 2 years as support for the likes of the Gaslight Anthem, the Offspring, and Social Distortion, he’s not a household name in America. Yet. But his latest EP released this week, the simply-titled Rock & Roll, should help matters.
Thanks to the BBC, folk gets a lot more attention nationally in the UK than it does here in America, and in Britain, there is a glut of folk and folk rock acts eager for mainstream success. Three reasons I think Frank Turner has come out on top of the heap and succeeded in Britain and in Europe? His down-to-earth persona, his eagerness to communicate with his fans (check out his Twitter and his blog, usually detailing his life on the road but more recently, the difficulties of touring during a freakishly early winter snowfall in Britain), and the protest bent of his lyrics, making him a present-day, Bob Dylan-style folk hero, if you will. He champions the little guy, a position that usually doesn’t translate to fame, fortune, and success in the popular music world. Yet back home in Britain, he’s idolized. I never got into Tom Waits like some of my friends and some of the people in the music business I’ve run into as a blogger. But I imagine for many people, Frank Turner is their Tom Waits.
The melodic guitars and Turner’s engaging vocals make this EP highly enjoyable. “Pass It Along” starts slowly with a folky sensibility. It reminds of how some of Led Zeppelin‘s songs would start off quietly and introspectively before ripping into monster, now classic riffs. (I bring up Led Zep because they are the band that created arguably one of greatest rock ‘n’ roll songs ever, aptly titled “Rock and Roll.”) In the case of “Pass It Along,” it’s at the 3-minute mark that all lets loose for what feels life-affirming. “Rock and Roll Romance” is a short piece, just Turner and his guitar. Simple, yet gorgeous and heartbreaking, all at the same time.
If you feel like the EP is flagging, then “To Absent Friends” reignites the fire. Listening to this song, I’m sure you can feel the excitement that is Frank Turner and his band live, Turner giving his vocal cords quite the workout as piano keys bang. The tune “The Next Round” is the most country of the five on this EP, and is the regretful musings of an alcoholic. What could sound fake doesn’t in Turner’s deft songwriting hands. But the rallying cry of this EP is the anthemic track “I Still Believe.” Turner sings, “who would have thought / after all / something as so simple as rock ‘n’ roll would save us all?” Decades after the first rock ‘n’ roll tunes came out of its rhythm and blues roots, rock ‘n’ roll is still going on strong. And it will continue to thrive with people like Frank Turner, committed to making music under his own terms. This album might not be as aggressive as what is being passed off as “rock” these days, but it’s sure got plenty of substance. And heart.
Track Listing:
01. I Still Believe
02. Pass It Along
03. Rock & Roll Romance
04. To Absent Friends
05. The Next Round
The Rock & Roll EP by Frank Turner will be released on December 07 on Epitaph Records.
When a young band gets booked at a large venue you never know how they’re going to react. It’ll either be the egos that grow or their appreciation for the fans. In the case of The Gaslight Anthem it was the latter. Having plugged in an entire three years on the music circuit, it was quite surprising that they were placed in a venue like the Midland. A venue that seats over 3,000 people generally houses acts like B.B. King, Steve Martin and Ok Go, and so it wouldn’t have been a surprise for anyone if the band had thought themselves rock stars in that place. But when the four members walked out on stage, there was nothing but genuine ear-to-ear smiles on each. To this the crowd appropriately reacted with their own glee and thus the show began.
From the new album came songs like: “American Slang,” “The Spirit Of Jazz” and “The Diamond Church Street Choir.” “American Slang” got everything going with its alt rock beats paving the way for a little guitar pitched up to an octave generally only seen in the likes of pop rock bands. Yet for this song, it’s that octave that was the perfect place for the cheerful sentiment that inevitably resulted.
Staggered between the newer selections were a few solid and slightly older hits. One of these (“Old White Lincoln”) seemed to groove on a slightly different frequency than the rest, but still proved to translate to the stage almost seamlessly. The fairly monotone rhythm section though not really defining, did manage to bring in a The Killers kind of dance (or sway rather) from the audience.
“This next song proves that Miles Davis is cooler than me.” When Brian (lead vocals) uttered these words, there was an instant increase in respect. This naturally stemmed from the vast appreciation of Mr. Davis and his music, but also from the reassuring fact that Gaslight still believes that they are at the beginning of their careers and have much to learn. The point of this was not to do anything just mentioned, but rather to preface the song “Miles Davis And The Cool.” A song while not directly influenced musically by the classic jazz of the 60’s, still referenced a feeling ever to familiar to Miles – the blues. Again a comparison to The Killers pops out with the repetitive and quick motions from the guitars and lyrics that sound like they come out of a man who was just beaten down by love.
An hour long set ended and an audience full of mid-to-late twenties begged for more. At one point they actually randomly started chanting a soccer saying, which was odd, but apparently effective. After a quicker than the normal “fashionable wait for encore” time, the boys were promptly back on stage. While the wait was shorter than normal, the encore was longer. Six songs made it on the list, like the song “Film Noir.” A song that was positioned for a guitar solo, however this solo was surprisingly impressive. Though fairly simplistic in nature, it screamed of 80s classic. It was the type of guitar talent similarly seen in a band like Cream. That type of rock faded for some punk rock gut wrenching screams so raw and raspy you’d swear it was Tim, veteran punk from Rise Against.
The night ended with their huge hit from The ’59 Sound album called “The Backseat.” It squeezed out what little energy that crowd had left with its choruses bursting with emotion and chord progressions that just wouldn’t let go. Those feet that were previously merely tapping had convinced the entire body to let go.
The masses of people that flocked to the show came without expectations. They only wanted to hear one of their favorite bands perform. No fancy effects or expensive equipment was needed. And that just what Gaslight was happy to do.
The video is directed by Kevin Custer, who has been working with the band for a seven-part “Making of American Slang” series. In this video for the title track, Custer casts the band in black and white, with tight shots on their faces and eyes as they watch the people going about their day to day activities in New York. It’s a beautiful video and almost like watching a documentary within itself.
Okay, so I readily admit it. I don’t listen to a lot of American bands. I do, however, have a defense: if you turn on your car radio in Washington, DC, scroll up and down the dial all you want, but you won’t be able to find a good station that plays all “new” American rock ‘n’ roll. (There is a rock station in the area that I like, but the problem is they play a lot of Red Hot Chili Peppers and Nirvana, which is fine if you want to relive the ’90s but not if you want to discover new bands.) To seek out the next biggest American rock band, I’ve used one of two methods: either listen to the good mix of stuff played onBBC6music(through which I found out about the Airborne Toxic Event, the Gaslight Anthem, and Titus Andronicus) or show up early to gigs as to check out opening bands.
The latter method applies to how I found out about New York band the Dig, who supportedEditors in February at the 9:30 Club. I always feel bad for opening bands. Unless you happen to be lucky and are already famous before you’ve agreed to sign on to support a bigger band on their headlining tour, the venue is likely to be mostly empty when it comes time for you to play. This was true at the 9:30, but the Dig worked it like pros, and by the end of their set everyone around me was smiling, obviously converted into fans. Workhorses of the American rock world, this band has toured around the country a lot, and it showed in their pretty much seamless live performance. Live shows are one thing; but can the band deliver on record, on their debut Electric Toys? I would say yes, a resounding yes. One better: this debut effort was produced by Bryce Goggin, who has previously worked with Pavement (on their 1994 opus Crooked Rain, Crooked Rain) and Antony and the Johnsons. Intrigued?
Like New Hampshire band Wild Light, the Dig features different members switching off for who sings lead. BassistEmile Mosseri takes lead vocals on what I consider the more middle of the road radio-friendly tunes. “You’re Already Gone” tells the story about, from what I gather, the morning after but with a twist – the emotionally unavailable woman has split and the man is lamenting that she’s left so quickly. The result? A peculiar but wholly romantic tune (with lyrics like “I just want to hear you say good night again” and “all the city lights will light your skin“) with a wicked guitar groove. Tom Chaplin (Keane)-like vocals feature in “Carry Me Home,” just that electric guitars are the prominent instrument on this song, not keyboards. ” The drums by Jamie Alegredrive “Sick Sad Morning” along as Mosseri pleads, “why don’t you pick up the phone?” and later yelps in yearning.
In contrast, guitarist David Baldwin sings lead on “I Just Wanna Talk to You,” a tune with almost Southern swagger. Take that,Kings of Leon. “She’s Going to Kill That Boy” and “Two Sisters in Love” are equally searing, with rocking choruses. “He’s a Woman” has a psychedelic bent, with crashing drums and swirly guitars. These are the kind of songs you want to have along for a long car ride in the summer, windows rolled down, speakers blasting. The album cover of Electric Toys features a red velvet cupcake, cream cheese frosting, and a perfect maraschino cherry. I highly recommend taking a great big bite. Dig in.
Electric Toys will be released in America on June 8 on Megaforce Distribution.
Track Listing
01. Carry Me Home
02. Two Sisters in Love
03. You’re Already Gone
04. She’s Going to Kill That Boy
05. Penitentiary
06. Sick Sad Morning
07. He’s a Woman
08. Look Inside
09. For All Your Sins
10. Shadow
11. I Just Wanna Talk to You
12. Feel Like Somebody Else
The pre-order for The Gaslight Anthem‘s much-anticipated third album, American Slang, will kick off tomorrow, Tuesday, April 27, on AMERICAN-SLANG.com. The album is due out June 15 in a variety of exclusive packages. The iTunes pre-order includes two bonus songs.
The band will also be touring in support of their new release beginning July 14 in Toronto as well as a special show June 15 at Irving Plaza in New York City. Avail‘sTim Barry will open.
* = w/ Tim Barry and special guests
JUNE
15 – New York, NY – Irving Plaza *
JULY
14 – Toronto, ON – Sound Academy *
15 – Detroit, MI – The Fillmore (special lineup also featuring The Hold Steady and The Whigs)
16 – St. Louis, MO – Pop’s *
17 – Kansas City, MO – Midland Theatre *
20 – Tempe, AZ – Marquee Theatre *
21 – Los Angeles, CA – The Wiltern *
22 – San Jose, CA – “Music in the Park Series”
24 – Denver, CO – Ogden Theatre *
26 – Minneapolis, MN – First Avenue *
27 – Chicago, IL – House of Blues *
28 – Columbus, OH – LC Pavillion *
29 – Philadelphia, PA – Great Plaza at Penn’s Landing *
31 – Providence, RI – Lupo’s *
AUGUST
01 – Montreal, QC – Osheaga Music and Arts Festival
02 – Boston, MA – House of Blues *
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Before Frank Turner became a solo artist, he played in a London post-hardcore outfit, Million Dead. When that band fizzled, he decided to strike out on his own, he did so in a very different musical genre, folk rock. Five years post-Million Dead, three solo albums, and two EPs later, Turner finds himself being revered and highly sought after, easily selling out venues at home in the UK. Despite having toured stateside over the last 2 years as support for the likes of the Gaslight Anthem, the Offspring, and Social Distortion, he’s not a household name in America. Yet. But his latest EP released this week, the simply-titled Rock & Roll, should help matters.
The latter method applies to how I found out about New York band 
