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The Sights music review
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The Sights The Sights
Interscope Records
From Detroit come The Sights -- a tempestuous mix of all the lates and
greats with a dabbling of newer, more present-day beats. The band,
having
formed in 1998, has initially settled down as Eddie Baranek
(vocals/guitar),
Bobby Emmett (organ/bass/piano) and Mike Trombley (drums).
Track listing:
01 I'm Going to Live the Life I Sing About in My Song
02 Circus
03 Will I Be True?
04 Scratch My Name in Sin
05 Backseat
06 Last Chance
07 Waiting on a Friend
08 Baby's Knocking Me Down
09 Just Got Robbed
10 Frozen Nose
11 Suited Fine
12 Good Way to Die/Stay With Me
As their third album to date, the self-titled release (New Line
Records,
2005) could almost be named as an homage to hometown heroes and other
namely
influences.
'Circus' conjures up heavy and intricate Bees tunes, with faraway synth
vocals and harmonics complete with that late '60s independent sound.
There
are numerous elements taking place throughout the track, and it doubles
as a
revamped offshoot of an older Doors song.
And what would any new classic rock band be without an inlay of The
Beatles?
On nearly every track there's a little something that will snap the
mind
back to their unworldly career, be it the melodic guitarwork,
untouchable
Lennon/McCartney-esque harmonies or the poppy drumming. There’s even a
dusting of The Who along with a southern rock tone and McCartney vocals
per
The Wings era on ‘Will I Be True?’, which goes to show that if nothing
else,
this is a decent jam band.
Organs also play a very large part in this album’s production,
appearing in
almost each track with a significant standout presence. Despite the
golden
oldies forte, there is also intensified guitar solos that appear on
occasion.
There’s a beckoning into the late ‘70s with bends and mystical vocals
on
‘Suited Fine’, which is finished off by a Santana fill and guitar solo.
And
barely five seconds after the last track is The Sights’ cover of Rod
Stewart’s ‘Stay With Me’, which is a suitable afterthought.
This album is the recyclable old-is-new-again technique, and although
it’s
always a pleasure to be taken back in time after a forty year
remission,
only hope that it doesn’t catch on too much and lose its dignified
credibility. Until then, this is a gentle memoir.
