Album of the Day 11/8/10

Every day our 1000 best albums of all time countdown continues all the way to #1. Monday’s album is #813:

Eric Ambel – Roscoe’s Gang

The original lead guitarist in Joan Jett’s Blackhearts, Eric “Roscoe” Ambel made a name for himself as a ferociously talented soloist in 80s Americana cult band the Del Lords (who have recently reunited after a 20-year hiatus). After that, he’d go on to serve for several years as Steve Earle’s lead guitarist when he wasn’t producing great albums by an endless succession of twangy rock acts over the past 20 years or so. This one could be found playing over the PA in every cool bar and club in New York in the summer of 1989; Ambel has since remastered and tweaked it. Here he’s backed by Springfield, Missouri highway rockers the Morells along with REM collaborator Peter Holsapple and Golden Palomino Syd Straw, along with several New York street musicians including sax player “Mr. Thing.” They rocket through a mix of tight, imaginative covers and originals, all of which are streaming at Ambel’s site. An insanely catchy, considerably altered version of Swamp Dogg’s Total Destruction to Your Mind was the New York party anthem of 1989; Ambel’s Del Lords bandmate Scott Kempner’s classic powerpop song Forever Came Today is as poignant now as it was 20 years ago. 30 Days in the Workhouse gets a stinging treatment that enhances the lyrics: “If I’d been a black man, they’d have given me thirty years.” There’s also the classic kiss-off anthem You Must Have Me Confused (With Someone Who Cares); Holsapple’s Everly Bros. soundalike Next to the Last Waltz; the macho Don’t Wanna Be Your Friend; and a well-oiled, impromptu live-in-the-studio version of Neil Young’s Vampire Blues that beats the original hands down (and cuts off mysteriously midway through the outro). For newcomers to Ambel’s music, it’s available attractively as a three-fer along with the bitter, stinging Loud and Lonesome and the more recent, frequently hilarious Knucklehead album.

Concert Review: The Roscoe Trio at Lakeside, NYC 3/23/10

The big news is that Eric “Roscoe” Ambel’s 80s band the Del Lords are back together, having just returned from a short Spanish tour, their first in practically twenty years. They were one of the best bands of the 80s – forget that silly synthesizer stuff, there were so many great guitar bands back then, it’s not funny – the Dream Syndicate, True West, the Long Ryders, the list goes on and on – and the Del Lords represented New York. So any Roscoe appearance at Lakeside these days could be a Del Lords show, considering that they’ve already done at least one unannounced gig there under a phony name. But it was not to be. “I saw an open date on the calendar. So I put my name on it,” said Ambel, and this time he brought his trio, Demolition String Band drummer Phil Cimino and Spanking Charlene bassist Alison Jones. It was like a casual night in the band’s rehearsal space – or a trip to the supermarket in a vintage Trans Am, laid back and comfortable in the bucket seat until you put the hammer down and then all of a sudden you’re burning rubber and your eyeballs are getting pushed way back into your brain.

Ambel had a couple of amps going at once, gleefully blending an eerie, watery chorus tone with distorted clang and roar. Since he’s a gearhead, any time he gets to experiment with textures is a treat for the crowd because that means he goes for the jugular. He’s a melody guy, but he’s just as good at evil noise and that was tonight’s special. It was obvious from the git-go, with a nasty little blaze of wailing bent notes on the stomping Song from the Walls, from his Loud and Lonesome album. Another snarling number from that uncharacteristically angry cd, Way Outside, blew the embers all over the place. A cover of Gillian Welch’s Look At Miss Ohio started out slow and soulful and then careened all the way into the outro from Hendrix’ Hey Joe, which the rhythm section had a ball with. They also did a plaintively jangly version of the Everly Brothers-ish Peter Holsapple tune Next to the Last Waltz, Dee Dee Ramone’s Chinese Rocks done Johnny Thunders Style (which gave Ambel a chance to relate his first encounter with Thunders, who’d been hogging the men’s room at the Mudd Club so he could shoot up), and a slinky, characteristically funny version of the Hank Williams Jr. sendup Monkey with a Gun. They wrapped up the show with a slow, surfy instrumental that Ambel suddenly attacked with a frenzy of tremolo-picking, only to gracefully bring it back around. And was that the Power Lounger Theme they closed with? That’s a blast from the past. Despite what the indie blogs will tell you, great lead guitar never went away – the great thing about living in New York is that you can see it for the price of a beer and a couple of bucks in the tip jar for the rhythm section.