Gaining rave reviews and a new European audience, particularly in Spain, I confess I’m a little late for the party. How can I excuse myself, turkey-stuffing, abundance of toy packaging, putting batteries in gadgets and other Christmassy eggnog shenanigans? Nevertheless, Bucketfull of Brains Records released this album, Human Traffic by Wiltshire-based Richard Davies & The Dissidents back in June. I’ve only just caught wind of its timeless rock n roll splendour, anthemic and emotive, and I’m letting you guys know, if you didn’t already.
Not to be confused with a movie about welsh clubbers, Human Traffic is pure road-driving rock. Maintaining a regressive, tried-and-tested rock formulae it never strides into experimentation but rides the eternal recipe with bells on. I’m getting UK-Americana crossover, the classic smooth eighties rockers, of Steve Winwood, Springsteen in all his Darkness/Born in the USA glory, Traveling Wilburys and particularly, Tom Petty & the Heartbreakers.
There’s also a subtle hint of English punk, Heartbeat Smile exemplifies this though upbeat and jubilant, one cannot ignore a rawness of the Clash. My valuation overall comes to a head with Way of The Wild, probably the most beguiling, but this ten-track strong album rarely comes up for air, and never diverts off its chosen path. Ergo, if confident, driving, ageless rocking out is what you want, it’s double-strength concentrate.
If cliché abound doesn’t matter, lyrical subjects matches the music, with long road to hearts, wild ways, getting under one’s skin etc. Yet maintaining the fashion is good, and they do it so, so well; it worked for Clapton, et all. This is why I think you, you with your black band t-shirt in the loft and memories of friendship bracelets up the arm, will love this album, perhaps even more than me. Because it flows, doesn’t jolt metal unexpectedly at you, or push an unwanted genre down your throat with that one oddity, tentative track.
There’s deffo something moreish about this, we want guitarist Richard Davies front and centre again, after years as a collaborator, gun for hire and band member, most notably with London bands The Snakes and Tiny Monroe, this is debut as lead vocalist and principal songwriter, but his background paid off. Also, the perfect band-gel of these “dissidents,” the backing of Davies’ friends, drummer Chris Cannon of Mega City Four and The Snakes, and bassist Tim Emery of Case Hardin and Last Great Dreamers, of whom I’ve not met since our schooldays. Fortuitously, it’s nice to be reviewing something inspiring with a local connection, that’s the principal reason for blogging here.
“Recording this album was something that I’d always wanted to do but never really got round to doing until now,” Richard explained. “Some of the songs are about me, some of them are about other people, but they all capture reality as I see it. I wanted to record an album that was about real life and with all the highs and lows that go with it”.
Richard began his career playing guitar for indie band Tiny Monroe in the 90s, recording several singles, an EP and an album for London Records, touring with The Pretenders, Radiohead and Suede and appearing at the Glastonbury, Reading and T in the Park festivals along the way. Following this, Richard recorded three albums with The Snakes: Songs From The Satellites, Sometime Soon and The Last Days of Rock‘n’Roll , as the band became major players on the UK Americana scene, picking up mainstream national airplay from the likes of Bob Harris and Mark Lamarr.
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