Published on Dec 30, 1997
It’s tough enough to review an independent band whose roots are
in a city far from your own. When the band undergoes a major
line-up change after the release of their debut album, it makes any
criticism of the previous work that much tougher.
Case in point: The Snap Dragons, a Philadelphia-based group who
sent me their debut cassette earlier this month. Since the
recording of their album, bassist Rich Randolph and drummer Tim
Guthridge have left the band, leaving only Ronnie Henry from this
lineup to continue the work. (I learned from the band’s home page
they are now a foursome, and are looking to have new material out
early next year.) So, whatever I say about this tape is kind of
muted by recent events, and their sound now may be radically
different than what I heard in these 12 songs. To make a long story
short (too late), take this review with a grain of salt.
Now, then… The Snap Dragons tend to jump from genre to genre,
often rather smoothly. They are as comfortable in ballad mode as
they are cranking out a pseudo-metal song that sounds like
something I’d have heard in the ’80s. The jumping from style to
style may be distracting to some listeners, but I thought it went
rather well.
Henry’s vocals and guitar work are the key elements to
The Snap Dragons. His work on tracks like “Late” is
extraordinary — but his vocals do have a limit. At their best,
he’s kind of like Bon Scott; at worst, he sounds like Faster
Pussycat’s Taime Downe — yeech. (The first chorus of “For
Tomorrow” is a bit painful to listen to — be warned.)
While The Snap Dragons could have built a solid career on MOR
ballads, they’re not afraid to turn up the crunch a bit. Songs like
“Crawl” could have passed for a Pantera throw-away, and is quite
enjoyable, while “911,” despite the corny theme (then again, isn’t
this true for a lot of the glam-metal of the ’80s?), is a guilty
pleasure. I do wish the guitars had been turned up just a bit,
though — and Guthridge’s drum sound just isn’t crisp enough,
though it comes close on “Late” and “Hour Glass.” (With no producer
listed on the credits, I don’t know who to yell at.)
But for the weaknesses, The Snap Dragons do show their talents,
and they show them often. The songwriting is stronger than one
might have expected; “It’s Not Fair” is a decent effort that
showcases the songwriting talents. Guess these next two points are
moot, though – Randolph’s bass provides a solid anchor (was that
him doing the fade-in work on “Clay”?), and Guthridge is a talented
enough drummer – if only he could turn it down just a tad on songs
like “It’s Not Fair,” which doesn’t always need the stylish snare
work.
It’s too early in the band’s career to tell if they’ll make the
national scene any time soon, and it’s far too early to see how the
change from a trio to a four-piece will change the sound. But even
for the flaws,
The Snap Dragons is worth checking out, both for the
songwriting and for the indulgence factor. I’ll be interested in
hearing future work from this group.