What do the recordings 12 by 5 by The Rolling Stones, London Calling by The Clash, We Are Painter Men by The Creation, Kinda Kinks by The Kinks and The Who Sell Out have in common? They combine raw, emotional songwriting and performances that transcend the three-minute pop format with unmatched energy. As George Dubber and Stephen Palmer flail through the first track, “Electrocute”, the energy passes through you fast and hard like a bolt of lightning. Nine by Nine sizzles like Ted Bundy sitting in his special chair.
“Spin Label” drives with a ferocity that reminds me of the best Richard X. Heyman stuff. “Satellite” opens with acoustic guitar, resolving with a very melodic chorus. “Livin’ in the House” absolutely rocks in a Jam “In the City”-way, building with an awesome Farfisa undertow at the chorus. “Change” is another melodic rocker with awe-inspiring drums from Joe Leone. “16 days (Unsteady)” has a guitar and callback feel that creates great tension going into the marching refrain. The remaining tracks exhibit fine songwriting skills, breathless, urgent vocals, crashing drums, intelligent lyrics and powerful choruses.
To say this is a good recording is an understatement. This is great, great stuff. The Fletcher Pratt are a member of a breed of artists that are combining arena rock power with tight, melodic songwriting. The people at Rainbow Quartz have some of the greatest melodic rock bands in the world on its roster, including the brilliant Cotton Mather. Those in-the-know understand that Rainbow Quartz has become one of the best labels in the world because of its eye for bands like The Fletcher Pratt.
Nine by Nine is destined to be one of the best releases of 2001. Buy this.
// Sound Affects
"More sock-hop than hip-hop, soulster Timothy Bloom does a stunning '50s revamp on contemporary R&B.READ the article