The primary difference is that the band pays even closer attention to melody than before – no unfocused jamming here.
Sure, the album is going to be, in general, strong, but how will it stack up against his own best work?
Even if the prospect of yet another covers record gives you the hives, you’ll likely find your pants charmed right off by Two-Way Family Favorites.
No effects pedals, no complicated song structures, no tongue-twisting metaphors – just good songs, played well.
A song cycle inspired as much by loss as by living, Neon Mirage strips his signature sound down to the bare essentials, while still remaining as eclectic as always.
It sounds like Hammer created this record under the influence of several hours of 120 Minutes, circa the mid-‘80s.
Blackshaw’s exchanged his acoustic 12-string for an electric, and the instrument’s trademark chime makes his circular melodies sparkle.
Gathering up everything the group recorded, including both EPs, the album, a pair of demos and a couple of live cuts, the disk makes the case for Carnival Season being a candidate for Great Lost Band of the 80s.
I don’t know how much Ragged and Right will do for Rose’s posthumous reputation, but it should alert discerning listeners to the potential of D. Charles Speer.
This two-disk edition collects all the recordings made during the three years leading up to the album’s release.