Wistful
You’ll be expecting punkrock or justrock, but not on first
track which is a pretty, piano-led ballad The
Dreamers, and when the chorus kicks in with female vocal accompaniment
there is a wistfulness to the sound. Second Addicted
isn’t quite into rock gear yet – not even garage – and is more upbeat-lite as
it reminisces on music in the past, and this harking back further than one
would imagine Jesse truly grew up to with its rock’n’roll pop sensibility.
Third Turn Up the
Mains turns up the pace and rocks to the latter Rolling Stones template.
It’s fourth Oh Sheena that drives
into more expected Malin territory, the punky jauntiness and Jesse’s
distinctive tenor-whine sounding familiar. But still anchored by a pop
production. Fifth She’s So Dangerous
is such a sweet starter, just Jesse and guitar before the band join in this
slow chug of a song, organ and harmony vocal a slight buffer in the background
before it builds to the piano rolls. Wistful again. Guitars then wail and build
too and the emotion of the song is palpable.
This is followed by The
Year That I Was Born which in its folk simplicity confirms how much this is
a songwriter’s album, and one reflecting on the past, musically and lyrically.
It’s not until eighth Freeway that we
are back on rockier ground. Tenth She
Don’t Love Me Now is an R&B melody reflecting brightly, and ironically,
on losing love. It’s on eleventh Death
Star that we get a feel of that expected New York punkrock.
The album closes on thirteenth Bar Life, Malin in storytelling mode, and it is the most developed
song on the album, the wistfulness here in the persona’s reflecting on a life
lived, and what seems acceptance rather than regret.
Not a rocker then overall, but this is a mature and melancholy
grasp of the real with occasional pop celebrations, bookended by two
excellently crafted songs, performed with sincerity.
I got to see Jesse Malin play the Cavern in Exeter some
years ago now, a small venue with an appreciative crowd where he rocked the
house. He has clearly grown and moved on, but then, don’t we all.
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