I haven’t got round to seeing The Bad Day play live yet, which I reckon is a pity because their three studio albums to date suggest they have the kind of rock’n’roll energy that’s all about live performance. And that energy is indeed present on Live And Loud.
Opening track ‘Forget’ is a good example, a slow thudding beat forming the backdrop for an intro of squawking harp from Sam Spranger, who then competes with guitarist Nick Peck to scatter licks around. There’s good dynamics as bassist Adam Rigg croons away Elvis-like (well, a bit), before they dial up a rolling, revolving riff to drive things along, and Peck and Spranger add stinging guitar and scurrying harp solos.
Later on there’s more heft, appropriately enough, in the form of ‘Fatman’, as Peck opens with
some surging slide, before switching to Morse Code-like picking to fit with Rigg’s staccato vocal. Peck’s skating slide solo gives things another lift, and then Rigg cools things off with a bass break, which also lays down the backing for the next verse. But the following ‘Jump’ is one of my favourite moments, as Peck knocks out a Hooker-like classic blues riff, which then explodes into a harp-blasting accompaniment to Rigg’s shakin’ all over vocal. Peck pounds away at the riff, which shape-shifts and grows arms and legs as Spranger wails away. It’s peak rock’n’rollin’, packed into a lean and muscular three and a half minutes.
There’s an 11-splurge on ‘The Bad Day Pt 1’, comprising four “segments” from the “concept album” that was The Bad Day itself, their eponymous second outing. Of these ‘Wake Up Carolina’ continues to seem catchy but under-seasoned to me. ‘Queen Of The Dirty Mind’ is rough, ready, and harp-tastic, with a peak moment as Peck fires in a riff that’s distinctly redolent of Sweet’s ‘Blockbuster’. But the best section is ‘Devil’s Lullaby’, a heartland rock meets punk rabblerouser that comes over like the Gaslight Anthem. It’s a cracking tune – no wonder, as it owes a lot to the Boss – and they shift their attack nicely on the bridge, with drummer German Moura switching up the rhythm.
They do break one of Cameron’s Rules For Live Albums though, by including more than one take of some songs. But I’ll give them a pass since this is (largely) down to the inclusion of three stripped back renditions recorded at a “Backlit Acoustic Session”. And the unplugged treatment of ‘Devil’s Lullaby’ is certainly worth it, slowed down and giving the plaintive melody more room to breathe, and showing off neat lines such as “You’re the note that I can’t reach / You’re a classic four on the floor”. ‘Wake Up Carolina’ still feels like it would suit some other band better, and while ‘When The Cage Comes Down’ has a tense, edgy undercurrent the acoustic treatment doesn’t convey it to the max, though the quasi-Celtic feel of the riff is still appealing.
‘Wandering Man’ finds them back in prime rocking mode though, with a bouncy vibe and a great big ringing riff that’s the centre of attention for the first verse, leading to a big hook of a chorus.
Another medley occupies the penultimate spot on the album, opening with the loping ‘Welcome To The Show’. It’s the only selection from their third album The Irish Goodbye, replete with oh-woah-oh-ing backing vocals on the chorus, wah-wah licks and punchy chords from Peck, and flurries of swirling harp from Spranger. Another take on ‘When The Cage Comes Down’ shows off its prickly, itchy, backscratching riff and some rat-a-tat drums to go with Spranger’s slithering harmonica. And there’s a third – third, ffs! - version of ‘Half Now, Half Later’, with its dreamy opening guitar motif presaging the aching vocal, patiently building to the big verse with its ever-so ‘Baba O’Riley’ three chord riff.
They close with the title track from their debut album Table By The Wall (released as The Bad Day Blues Band), Spranger’s spiky harp to the fore over bristling guitar and drums, until the energy spills over in an almighty rave-up of stabbing guitar, clattering drums and howling harp.
Live And Loud is a warts and all live album, a good document of the feverish vitality The Bad Day can whip up – and hopefully a good trailer for eventually experiencing their live show for real.
Live And Loud is out on 1 November, and can be pre-saved here.
Opening track ‘Forget’ is a good example, a slow thudding beat forming the backdrop for an intro of squawking harp from Sam Spranger, who then competes with guitarist Nick Peck to scatter licks around. There’s good dynamics as bassist Adam Rigg croons away Elvis-like (well, a bit), before they dial up a rolling, revolving riff to drive things along, and Peck and Spranger add stinging guitar and scurrying harp solos.
Later on there’s more heft, appropriately enough, in the form of ‘Fatman’, as Peck opens with
The Bad Day - having a nice day, by the looks of it |
There’s an 11-splurge on ‘The Bad Day Pt 1’, comprising four “segments” from the “concept album” that was The Bad Day itself, their eponymous second outing. Of these ‘Wake Up Carolina’ continues to seem catchy but under-seasoned to me. ‘Queen Of The Dirty Mind’ is rough, ready, and harp-tastic, with a peak moment as Peck fires in a riff that’s distinctly redolent of Sweet’s ‘Blockbuster’. But the best section is ‘Devil’s Lullaby’, a heartland rock meets punk rabblerouser that comes over like the Gaslight Anthem. It’s a cracking tune – no wonder, as it owes a lot to the Boss – and they shift their attack nicely on the bridge, with drummer German Moura switching up the rhythm.
They do break one of Cameron’s Rules For Live Albums though, by including more than one take of some songs. But I’ll give them a pass since this is (largely) down to the inclusion of three stripped back renditions recorded at a “Backlit Acoustic Session”. And the unplugged treatment of ‘Devil’s Lullaby’ is certainly worth it, slowed down and giving the plaintive melody more room to breathe, and showing off neat lines such as “You’re the note that I can’t reach / You’re a classic four on the floor”. ‘Wake Up Carolina’ still feels like it would suit some other band better, and while ‘When The Cage Comes Down’ has a tense, edgy undercurrent the acoustic treatment doesn’t convey it to the max, though the quasi-Celtic feel of the riff is still appealing.
‘Wandering Man’ finds them back in prime rocking mode though, with a bouncy vibe and a great big ringing riff that’s the centre of attention for the first verse, leading to a big hook of a chorus.
Another medley occupies the penultimate spot on the album, opening with the loping ‘Welcome To The Show’. It’s the only selection from their third album The Irish Goodbye, replete with oh-woah-oh-ing backing vocals on the chorus, wah-wah licks and punchy chords from Peck, and flurries of swirling harp from Spranger. Another take on ‘When The Cage Comes Down’ shows off its prickly, itchy, backscratching riff and some rat-a-tat drums to go with Spranger’s slithering harmonica. And there’s a third – third, ffs! - version of ‘Half Now, Half Later’, with its dreamy opening guitar motif presaging the aching vocal, patiently building to the big verse with its ever-so ‘Baba O’Riley’ three chord riff.
They close with the title track from their debut album Table By The Wall (released as The Bad Day Blues Band), Spranger’s spiky harp to the fore over bristling guitar and drums, until the energy spills over in an almighty rave-up of stabbing guitar, clattering drums and howling harp.
Live And Loud is a warts and all live album, a good document of the feverish vitality The Bad Day can whip up – and hopefully a good trailer for eventually experiencing their live show for real.
Live And Loud is out on 1 November, and can be pre-saved here.