Published on Jun 4, 2004
Mastering the task of imperfection is an art. Notably few
musicians have made worthwhile careers out of repeatedly turning a
missed guitar or vocal note into the remembering trait of a song.
For me, the two most successful names in navigating routes on the
road unconventionally traveled are Neil Young and Bob Dylan,
artists that are both coincidentally inductees in the Rock and Roll
Hall of Fame.
So naturally, I’m prepared to talk about another artist with
similarly unorthodox potential in vocalist/guitarist Rick Sims and
his Chicago based rock quartet, the Gaza Strippers — as evidenced
by the band’s first full length release,
Laced Candy.
By all accounts, this album would be a total train wreck if it
weren’t for the whiny vocals of Sims mixing remarkably well with
the overly liberated guitar riffing and wailing found on the album.
It’s the kind of dubious — no wait, I mean reckless recording
formula that makes me ever grateful that low budget indie record
labels exist and that producers like Mutt Lange and similar
perfectionists had their cheek proverbially turned while this album
was recorded.
This is Rick Sims’ band — and his legacy, if you want to call
it that, had previously been defined in successfully guiding the
obnoxious punk band, the Didjits, into one of the more visible
bands on the scene. That band’s notable stamp of inspirational
approval came in the form of the Offspring covering “Killboy
Powerhead” on their breakthrough album
Smash.
Make no mistake though; the Gaza Strippers were not to become an
obvious punk reincarnation of the Didjits.
Laced Candy is a throwback rock album complete with gritty
recording production, venturous guitar lead breaks, and the gnawing
brilliance of Sims audacious lyrical compositions resonating
throughout the album.
“Automat” makes brash references at sin as Sims teases the Holy
Father by wittily betting his “sweet ass that he’d do it again.”
Sims finds this keen groove in matching words throughout
Laced Candy and never seems to run short of such shrewd
ideas. Match the wordsmith with his bratty vocal delivery and this
recording instantly becomes a listen that is compelling enough to
cause the listener to sing along to the lyrics found in the CD
jacket.
The jewel found in
Laced Candy is with the track “Throttle Bottom.” Axl Rose
had Slash’s guitar solo to turn “Sweet Child O’ Mine” into an
instant classic. In the case of “Throttle Bottom,” Sims benefits
mightily by giving lead guitarist Mike Hodgkiss such a long rope to
perform his two solos. As adventuresome as the solo’s are, they
shift through the proverbial gearbox with amazing ease.
Additionally, the fact that the Gaza Strippers cover the
mesmerizing Love and Rockets track, “Yin and Yang (The Flower Pot
Man)” gives credence to the fact that
Laced Candy is intent on being an upbeat effort. The song is
wide open and gives each member the space to shine. It’s easily the
most visible platform for drummer, Cory Stateler and bassist,
Darren Hooper to create a lasting beat.
In the end,
Laced Candy, should easily be classified as one of the more
fun rock albums to listen to. Period. This album oozes charisma and
testosterone in many ways that Young and Dylan never achieved due
to the fact that their careers were spent pushing political
commentary. As such, Sims doesn’t rely on allowing his personality
to “suck like a drain.” He’d rather “make a raft and drift out to
sea” to “get the best tan that you’ve ever seen.”
If you were to consider doing such a thing yourself,
Laced Candy will be one of the albums you want to have on
you should you luckily get stranded on that deserted island.