Wednesday, July 28, 2010 at 4:59 p.m.
Artist: The Goodnight Loving
Title: Supper Club
Release date: July 20
So, this Milwaukee band was supposed to play in Tempe on Saturday night. I'd seen on the Goner Records message board earlier this summer that they were touring the West and needed a Phoenix gig, so I set them up at the awesome Palo Verde Lounge with my band and a couple of others. Then, two weeks ago, I get a message from their former label that at their recent record-release show in Milwaukee, held just a couple of days before they were to hit the road, one of the band members quit. Tour's off.
Selfishly, I'm disappointed because I really wanted to see them perform after hearing their last record and, now, their new release, Supper Club, on the reliable Dirtnap record label out of Portland. But, first and foremost, I do hope the boys work out their differences and get back on the road because they're one of the stronger underground out there. And this 14-song record is a winner.
The Goodnight Loving is essentially a garage rock band with an impressive grasp on numerous American rock 'n' roll idioms: country, surf, blues, punk, folk. They're certainly not the only young rock band doing the garage-roots thing right now (you can thank the Greg Cartwright's Reigning Sound for kicking off the trend about decade ago), but I'm hard-pressed to think of one that does it with The Goodnight Loving's finely honed blend of maturity, technical proficiency,
and joyous rock 'n' roll
Best song: "The Pan" is as good as any. "We're all in the pan / Get out while you can."
Deja vu: The great city of Milwaukee.
I'd rather listen to:
Though Supper Club is more accomplished,
I still like the songs on their self-titled record best.
"Nothing Not New" is a yearlong project in which New Times editorial operations manager Jay Bennett, a 41-year-old music fan and musician, will listen only to music released in 2010. Each Monday through Friday, he will listen to one new record (no best ofs, reissues, or concert recordings) and write about it. Why? Because in the words of his editor, Martin Cizmar, he suffers from "aesthetic atrophy," a wasting away of one's ability to embrace new and different music as one ages. Read more about this all-too-common ailment here.
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