Primal Scream

I will start off with this: my music background gave me no reason to love or hate Riot City Blues. I've heard of Primal Scream and their legacy, but had not heard a lick of a lick of guitar by the band. I'm a young'n. I didn't live for the '90s house craze in London that Primal Scream rode -- I was in middle school at the time. On the other hand, I've heard plenty of the Rolling Stones, the primary influence of PS's rock and roll sound.

But when I popped in this disk I didn't hear Primal Scream's take on the Rolling Stones. Instead, I heard their take on Franz Ferdinand, The Strokes, and The Killers, bands which were influenced by Primal Scream. If Riot City Blues is singer Bobby Gillespie and co.'s attempt to dually echo their idols and match their followers, it's a good stab, but it doesn't fully penetrate on either side.

This is a rock and roll album, with a bunch of the blues thrown in. There are songs that stomp, songs that rollick, and jangly acoustic-electric guitars covering them all. And there are "babys," "girls," "honeys," and lots of the "woo." They will excite you at first. You will pump your fist and sing along. If you didn't, excuse me, we're just not on the same level of rock and roll. The album leads off with the upbeat single "Country Girl," with Gillespie asking, "what can a poor boy do?" - fittingly, a famous line from a Stones song. What Primal Scream does for the rest of Riot City Blues is make an album that is solid musically. Everything for the rock and roll revisionist is packaged in its rightful places.

Back in the Stones' prime, the sound they carved was edgy, exciting, and energetic. But Primal Scream just can't harness that same level of energy, something the young whippersnappers of Franz and co. handle with ease these days. I heard Primal Scream was once experimental, but they seem to have traded in that edge for another slice of the same old, even if the same old sounds good.

The album is set in Riot City, where partying is at a premium. Riot city is inhabited by "Suicide Sally & Johnny Guitar," and we are told "Hell's Comin' Down." From here, Gillespie's lyrics embody party talk, lots a promises, but little to say. While the Strokes came to us with tales of NYC's disaffected youth and Franz asked us to take them out, we learn little of why we would get the blues in riot city.

Maybe Primal Scream don't want us to know. We don't need a reason, as Gillespie tells us -- we're here to have a good time. In the end, Riot City Blues is like a frat party -- there's nothing you'd want to take home and live with for the rest of your life, but there's enough promise of action to keep you interested. - David Pessah, kNewIt06

If at first you don't succeed, try again. Riot City Blues is another attempt at straight-up trad rock where the ghosts of the Faces, the Rolling Stones, and others come traipsing into Bobby Gillespie's scope and he goes for it. Some heard an overly strenuous attempt at this on 1994's Give Out But Don't Give Up, where it worked not at all due to the band's attempt at literally mimicking the sounds of the aforementioned bands without adding anything else to the mix. Riot City Blues is a much more relaxed effort, and benefits significantly from that stance. Yeah, it's true that on first listen "Country Girl," the album's opener, sounds like an in-the-studio gathering of the Stones and the Faces riotously attempting a country gospel song -- but on deeper observation, it feels more like Delaney & Bonnie & Friends on Motel Shot. The straight-up raw boogie rock of "Nitty Gritty" takes the Delaney & Bonnie move even deeper and brings elements of R&B into the equation. This is late-night drunken rockism. It's not carefully crafted; it's throwing something at the wall because it's there to throw. Riot City Blues is not an "album as event" as many past Primal Scream records were; this is an "album for its own sake" recording. It's an offering where it really seems that Gillespie doesn't care if he loses his hipster following -- all that matters is that Riot City Blues rocks.

One can hear traces of not only the Faces but everything from early Alice Cooper (à la Killer) to Mott the Hoople, David Bowie, the Kinks, the New York Dolls, and a whole lot of other rock & roll bands. Looser than the Black Crowes, thinner than even the Black Keys; it's simply shambolic from top to bottom. This is trashy, nasty rock music that doesn't feel modern but it does feel timeless. The songs are riff-centric, some of them joyous, others darkly freaky -- "When the Bomb Drops" is a fine example, and the complete dope and guitar orgy of "Suicide Sally & Johnny Guitar" is in the red zone in the same way "Suffragette City" is. (One can feel the gigantic pub-crawling smile of Mick Ronson from some strange Valhalla.) Most of the tracks here were produced by ex-Killing Joke bassist/Orb collaborator Youth, with a pair recorded and produced by the rather less intense Andrew Innes. Whether "We're Gonna Boogie," with its bluesy harmonica and slide guitar -- with Bobby Gillespie sounding like Donovan singing the Stones' "Country Honk" -- is taking the piss or not is debatable, but it's a gas to listen to, as is the down-home "Hell's Comin' Down," with its fiddle (courtesy of the Dirty Three and Bad Seeds' Warren Ellis), high-strung guitars, 12-strings, and mandolins. The 12-bar blues formula used on the latter cut is particularly refreshing. "Dolls" is such a raucous joy that it's infectious. It's a given that Riot City Blues, issued in 2006, is easily the most unhip record Primal Scream have ever issued. The songs are little more than dressing for the riffs, but they have lots of humor and cleverness and they lack the snide hipsterism of the times. It doesn't matter. Listened to with an open mind, it's a refreshingly retro rock & roll album that uses its waste-oid imagination in capturing every fantasy that entered Bobby Gillespie's teenage mind. Get it. [The U.S. edition of the album includes three bonus tracks (including a cover of John Lennon's "Gimme Some Truth") and the "non censored" version of the "Country Girl" video.] ~ Thom Jurek, All Music Guide