Review by Kris Peters
The Rose Carleo Band has been making quite a splash on the live music scene, with vocalist Rose Carleo flirting with national recognition following a stint on The Voice, which also caused a later than expected release date for their new album 42 Days.
Whatever the reason, the delay had the effect of hightening anticipation for the album, especially for existing fans who know the combined talent at the band’s disposal with guitarist Mick Adkins, drummer Mick O’Shea and bass player Bill Kervin all having rich musical pedigree on the Australian music landscape.
But just because a band is oozing with individual talent doesn’t necessarily mean assured success, with a little thing called ego disrupting harmony in many a band over the course of history. But as soon as the first track You Ain’t Foolin’ Me roars to life such thoughts become an instant distant memory as Rose Carleo Band bring the groove in abundance.
A chunky guitar riff lays the platform for an old school banger that is given added class by the raspy, sultry vocals from Carleo who comes out swinging, allowing vocal mannerisms and nuances to dictate the sonic atmosphere rather than all out aggression.
Don’t get me wrong, there’s plenty of aggressive intent on display here as Adkins eases into a tasty guitar solo before the mid point of the song, hopefully setting the scene for plenty more. At times the guitar acts as a second vocal, playfully wincing in reply to Carleo‘s insistance that no-one is fooling her, and I, for one, tend to think any attempt to do so would be a lesson in futility…
Hide Away starts with a harmonious interlude void of instruments but soon finds it’s rock swagger with a shuffling of drums from O’Shea that puts a touch of country into the world of rock. Whereas most times the country influence quickly becomes tiresone, it’s subtle persistence here adds a refreshing layer to the track. But I don’t think Adkins shares my sentiment as he produces a sharp burst of guitar wizardry that seems to scare the country out of rock and we continue our merry dance in a more upbeat fashion. Nicely done.
Eulogy For The Devil breathes life courtesy of a wicked riff that Angus Young would take his hat off for before Carleo breezes into the picture amid layered harmonies that offset the up tempo, almost urgent underbelly of the track. This song has traces of any number of past and present Australian acts of rock royalty, but to mention them by name would only cheapen the impact Carleo has over the whole track.
That is until Adkins breaks the shackles and casts a mesmerising solo spell that just as quickly gives way to Carleo as she accepts the challenge and carries Eulogy For The Devil past the gates of Hell and into the realm of pure rock magic. A banger, but also one which could appeal to the more radio friendly market too often starved of music this vengeful due to a lack of regard for the finer things in music.
Daisy’s Song has blues charm all over it from the opening note, which is accentuated as Carleo glides into the picture, led along a mournful path by the steady, rhythmic drum patterns that ensure Daisy’s Song remains withdrawn and introverted with a touch of mystery. It is a slow, tempered slab of music that rises above the obligatory album slow number with a restrained emptiness that overflows with sorrow.
Son Of God fires up with a tasty guitar lick that is quickly challenged by O’Shea who seems wound up for confrontation this time around. He pushes the song along at a meaty pace, allowing Adkins to attack his guitar with more vigour which in turn evokes a snarling bout of vocals from Carleo who obviously believes in the man upstairs enough to think he has a son walking around amongst us mere mortals.
But this track is a vehicle for O’Shea to take charge and despite the urgency displayed across the board from the rest of the band I am half expecting Mick to pull out some double kicks and take us into even heavier territory but Adkins must have sensed it too as he ups the tempo himself with a swirling guitar solo that turns everything up to eleven before the band bails out before tipping themselves over the edge. Which is a shame because I don’t think they were far from that point…
Remember Me squeels to life on the back of a guitar run before O’Shea tightens the reins and steers the ship back into calmer waters. The Rose Carleo Band have a rare ability to elevate songs that would be almost meandering in the hands of other bands and add enough spice to make them another beast altogether. There’s so much going on already over the first half of 42 Days with splashings of rock laced with blues, infused with the harder side of music and offset by the lighter shades of harmony.
It’s a delicate balancing act of genres that when done well has the impact of a sledgehammer and Rose Carleo Band seem to have stocked up at Bunnings with enough blows from that sledgehammer to satiate the harshest of critics.
Now, I’m nothing if not honest and anyone who has read any of my reviews will know of my aversion to the album ballad. It’s not that I don’t like them… actually who am I kidding. I don’t like them at all, which is why I shall politely skip over Where She Sleeps in order to keep myself awake. Which is no blight on the track musically. It’s more a personal thing that I can’t get over. Sorry kids, I’m sure it is a great song.
But I’m glad I made the Sacrifice as the song by the same name eases into being as Adkins plays what sounds like a bit of casual slide guitar to go with a blues fuelled, angst driven number that shuffles and grooves in an almost comforting manner. That comfort soon becomes an addictive wall of intent as the guitar rises prominantly and purposefully, soaring over Carleo who responds by adding even greater layers of sonic depth to an already emotional song.
And before you call me a hypocrite, I love blues. I just don’t like ballads. Not even Wanted Dead Or Alive…
A gentleman by the name of Pontus Snibb is credited as featuring on the next track Dirt Bound and although I am not familiar with the name I’m guessing he is from the rock side of music rather than the pop edge of town because this song has an uneasy shuffle that gives it greater purpose. The chunky guitar play only serves to fire up everyone and everything around it, with a swathe of layered vocals adding to the atmospheric rock already dominating the landscape.
Although not forcing himself into proceedings, O’Shea adds a number of subtle rolls and drum fills to keep his bandmates on their toes in what is ultimately my pick of the album two songs out from home base.
The title track is another guitar fuelled slab of excellence, infused with enough blues swagger to elicit a plethora of emotions while also causing your toes to tap in unison. This track has radio acceptance written all over it without giving in to the demands of the industry machine, gliding at its own pace with scant regard given for formulaic passages and interlludes that have become the staple of mainstream music in the modern age.
And that’s what 42 Days is in a nutshell. Easily digestable rock goodness bordering on mainstream acceptance while maintaining enough arrogance and contempt for regulations to give it a dangerous edge that almost forces you to listen.
Line Em Up begins with perhaps the most intent of all eleven songs on 42 Days, which is a welcome change from the current musical trend of winding things down significantly the closer we get to the end of an album.
This is a party song in every way – and that’s disregarding the suggestive title. It shakes where it shouldn’t and drives on the wrong side of the road which is precisely what makes it so irresistable. Adkins doesn’t let us down either, chiming in with a sizzling solo to remind us it’s not past his bedtime yet, with O’Shea and Kervin seemingly eager to join the party themselves as things get loud and messy.
Just the way any party should start and finish.
