In his book,’ Riding Shotgun,’ Gerry McAvoy (bass player to Rory Gallagher and Nine Below Zero) makes reference to the ‘Showbands,’ of his native Ireland. I always wondered just what these bands were all about – now I know.
Waterford’s Shane Barry & The Distractions were originally a four-piece, playing guitar, bass, drums and keyboards (note: not ‘synth’) but have now been augmented by the addition of a two-man brass section. Before even pressing the ‘play’ button, two things strike: the name carries the same ring to it as Elvis Costello and the Attractions (duh!) and from the instruments played, the listener will kind of know what type of music to expect.
In fact, the Elvis Costello reference is actually quite pertinent. It’s not that ‘Radio Friction,’ sounds specifically like anything in particular that has been produced by the Artist Formerly Known As Declan McManus, but there is a definite ‘feel’ of some of his very early material.
Actually, the whole album – the debut offering from Shane Barry & The Distractions – harks back to earlier times. It mixes the Stax influenced and brass-laden sound of pre-dungaree Dexy’s Midnight Runners (reference, ‘Geno’ and ‘Plan B’) with the smooth but bouncy vocal style of Deacon Blue. Think of the principals of the Seventies Pub- Rock revolution like The Rumour, Brinsley Schwartz and especially early Graham Parker (though perhaps lacking the punk attitude of the great man.)
There are eleven tracks on this album, spanning forty-four minutes. Each features an eminently sing-a-long chorus and hooks – even the almost obligatory ‘slow’ track, ‘She Says, He Says’. Indeed, it is difficult to single out any particular track as ‘the highlight’. All are strong in their own right, but as most fall into a similar style-basket, it is those that veer away slightly from the norm, or incorporate more current sounds that perhaps register more immediately.
For example, first single ‘Stop’ – though sounding like Dexy’s from about twenty-five years ago, sounds really strong and different for today’s scene. ‘Greatest Thing To Fall,’ has the deep almost threatening piano stomp used so effectively by the contemporary, art-rock based Rosie & The Goldbug and America’s The Blood Arm. ‘There’s No Time’ is a little bit more frantic in pace than the rest of the album, while album closer – and longest track at six and a half minutes – ‘The Finest Line’ sounds like an eclectic mix of psychedelic swirls, haunting piano, Seventies styled progressive-rock organ breaks, pace changes and bold brass blasts leading into a funky, jazzy, scatty, sax and trumpet combo. Hey! – forget what I said earlier – this is the best track! It’s big, bold and dares to be different!
It’s all good, soulful, foot-tappin’ stuff, probably more appreciated by those of a certain age. It’s inoffensive, unobtrusive music that could, indeed should, attract those not of that certain age, but perhaps lacks the urgency and spiky edge to do so.
But here’s the thing, right? If ‘showbands’ were inspirational and exciting enough for a young Rory Gallagher and Gerry McAvoy, then bands like Shane Barry & The Distractions are good enough for me, and should be you also.