SWEET
JUSTICE – Sweet Justice (Real O
Mind)
Midway
through this debut album for Los Angeles band Sweet Justice and I was wondering
if this was a band covering too many bases for its own good. Many repeat plays
later, I’m wondering 
what
I was on about.
This is a ripper of an album (that's Aussie for balltearer). Diversity is
its watchword but, for the most part, it delivers without jarring. Running
the gamut from soulful stomps to doo-wop, from balls-out rockers to Chicago
blues, “Sweet Justice” sweeps you up on a trip that should sate
the most jaded musical palate.
Led by Frank Meyer (whose Streetwalkin’ Cheetahs are hibernating for
now) and populated by bassist Bruce Duff (ADZ, Adolescents, ex-Jeff Dahl)
and drummer Chris Markwood (ex-BellRays), Sweet Justice’s genre hopping
seems like a run-through of the members’ record collections. Which it
undoubtedly is.
Meyer handles the vocals on all but two tracks with Duff assuming the lead
mic for the balance. He and Markwood are right on the money as an engine room,
adept at fuelling whatever direction the band pursues. A brass section, back-up
singers, strings and harp augment the songs as required.
Up front I have to say I can’t abide the overly-long, dub-tinged reggae
experimentation of “Hey Christina” (skipping tracks is what CD programming
buttons are for). As much as some of the Clash’s forays into the ganja
plantations and shanty towns of Jamaica worked, this one leaves me pale, mon.
On the other hand, “If You Look Like a Star” is a contender for
the soundtrack of the next big blaxploitation movie, should a revival of the
genre be on the cards. It’s a grower, in a big hat, wide lapelled jacket
and pimp shoes. “Travellin’ Blues”, on the other hand, is the
sort of bluegrass-tinged shuffle that Dylan slips into so adeptly these days,
and sounds mighty fine in Sweet Justice’s hands. Diverse enough? “Don’t
Cry on Somebody Else’s Shoulder” is a soulful, big production number
with hot sax and touches of strings.
But just so you don’t get the wrong idea and think Berry Gordy’s
heirs have bought the Real O Mind empire, “Johnny Rico and the
Kid” finds Sweet Justice wrapped up in barbed wire guitars before taking
off, deep into straight-ahead Streewtwalkin’ Cheetahs territory. “Blood
and Alcohol” wears a rock mantle just as well while the album opener
(and single)“Guns of Navarone”, casts off its mild-mannered acoustic
intro for a run through the wilds of East L.A. It’s as invigorating piece
of guitar rock as you’re likely to hear this or any other year.
“Navarone” is a nice choice as the single - but the slinky “Slide”
(with its undercurrent of bristling guitar and an impassioned Meyer vocal)
or the stridently brassy “Sold Me Out” would have done fine too.
Newborn label American Ruse has issued a split single with Sweet Justice tag-teaming
Powertrane Featuring Scott Morgan, plumped for “Outta Site”. Hard
to go wrong there too.
It would be tempting to write off the closer, “Baby Love” as some
sort of over-wrought guitar workout. It’s certainly a platform for Frank
Meyer to show off his chops (as if they were in question). If you’ll
excuse an Australian reference that will probably be as obscure as all fuck
for the rest of the world, it actually works. It’s the sort of over-driven,
crypto-metal blues storm that Billy Thorpe and the Aztecs used to inflict
on a generation of early ‘70s festival pissheads (when they weren’t
reverting to mindless boogie marathons). A trifle indulgent, but it’s
Frank’s album and he’ll bend the shit out of those six strings if
he wants to. –
The Barman
1/2