Argy Bargy
The Likes Of Us
By Jillian Abbene
(SugarBuzz Richmond)
SugarBuzz Magazine
Despite Argy Bargy’s debut in 1992, their sound truly can be defined more within the catacombs of old-school punk rock. Unlike their past albums, their newest release, “The Likes Of Us,” separates their sound from their traditional Oi. Dynamically driven, it’s within the street punk melodies and core rock essence that interlocks the human experience with versatility. Each song feels complete and balanced—including the harmonies--just stellar! It is true what I have read, and others have concluded—that they are a band that sounds like everybody, but nobody. Their elements are unidentifiable yet new. Since there is a lot to cover in this CD, let me get on with it--
‘Your Time Will Come,’ can almost be the intro to the CD song for just its short blast. Listening at first, I thought they had gone hardcore. However, as the beginning guitar squeals in between tribal drums along the long strokes of anger-gnarled filled guitar, Watford Jon’s guttural vocals are infallible. Synonymous, the vocals are of equal parts within the bombardment of guitar-slamming chords. The chorus is unbelievably catchy with its assaulting gang-vocals by the Bargettes [mates: Danny, Gaz and Les] who are all in tight composing glory-- that comes off more of a campaign specifically created for the pit. In a split-second reprieve, ‘Lights Over London,’ bleeds in, as a mid-tempoed number, but with less intensity. The tinning guitar reminisces as a paying homage to London. Here, Watford Jon’s vocals are more crooning and melodic; sandwiched in the guitar plucks. Daryl Smith (also guitarist, Cock Sparrer), adds his clean two-bit riff. Hurdling an octave in two-part harmony initiatives, Daryl’s higher-registered vocals, places a sense of urgent-energy suspending from beginning to end.
With landscaping guitar chords, a deliberate shift replaces it with guitar arpeggios in, ‘There’s Gonna Be A Riot,’ stewing in heavier notes on the first and second verse. Noted within the third and fourth verse of the meter, the lyrics are cleverly punctuated. As the guitar blends into the background in a hum-fuzz of bass, the tempo slows to a ½ time, all leading up to the chorus declaration. The M8 surfaces to solid rock ‘n roll chords all swinging back to the first verse. The comeback in the form of a guitar scream joins along with the chorus. You can even hear Dalb’s bass scales behind the melody. Nice touch. The intensity never leaves as the chorus repeats smashes into an all-instrument slamming pace at the end.
Opening with a hint of Clash elements, relenting lyrics, a solid pictorial story line, along with Jon’s guttural sharp vocals makes, ‘Right To Fight,’ is the fiercest song on the CD. Although the beginning tweeters in the ’77 tinned-guitar melody, the first verse kicks into a faster tempo with Ray’s clean drum pangs. Annexing with the shouted chorus, “Let’s Have It, Come On, Let’s Go… I’ve got a right to fight!” is the best line ever to be put to Oi lyrics! The aggro quells to the bridge pulling along guitar pulls and syncopates to summoning drums with a heavy-crash landing.
Back to the fierceness… ‘My Life,’ has street punk and hints of Buzzcocks influences straight in the first verse, as bass scales are heard even through the projected angst-packed gang-chorus. The bridge possesses a great woven guitar riff –- until the meter changes to a searing guitar crescendo and drums that crashes on the cymbal and rounds off the chorus one more time. The psych-out repeat ends in a rapturing finality installment on the, “Fuck You.”
‘No News Is Good News,’ intersects with a more mellow Rancid influence. A street-based mid-tempo melody is attached to wind milling guitar strums. The overlapping chorus with the roundabout backups remains consistent with the hollow guitar pluckings. It is this leading solitary guitar riff that mellows out the ending.
Opening in guitar-chorded rock, ‘I Believe In You,’ jumps in head first with an assemblage of fast cadenced street punk and a kickin’ rock ‘n roll screaming guitar melody. In role reversal, the vocals switch with every other verse, as the drum and cymbal embody the syncopations. The bridge delivery quiets the energy with lower registered drums and guitar. As the live chorus consumes the song in a unison chorus and Oi’s, an accelerated intensity is given to Daryl’s bloody-fast riff. Splitting the tempo to a slow-down, the pursuit of melancholic cymbals crash-out this song.
Romping drums and guitar palpitates on the intro of, ‘Don’t Wanna Be Like You.’ Before picking up the lighter mid-tempo pace, the tuneful chorus-harmonies in high register has The Ramones plot wrapped in old-school flair. The distinctive bridge in slow Ska with heavy classical guitar arpeggios, twiddles back to the catchy chorus line. Ending with concise and even harmonies, the one guitar squeal attaches on the fade.
Opening in an acoustically driven intro, ‘One More Drink,’ fooled me at first. Showcasing Jon’s cockney vocals all in a consistent melodic pace, a crescendo begins leading to a superb chorus line with embedded signature harmonies. It’s the melody and lyrics that tells the story. Smack dab in the middle on the bridge, the rock ‘n roll Chuck Berry guitar lets it rip. The ending vocal pleas from Jon in, “One More Drink,” and the clever chorus overlaps again in Daryl’s awesome higher-register harmonies delivering with the same fervor. This is one of those memorable songs.
‘Can’t Take It Anymore,’ streams in with more of a fluid melody. Behind the chords, you can faintly hear guitar squeals. The syncopated chorus voicings on the woh’s carry the melody through the whole song. The bridge links the guitar strums, and a single guitar sears all the way to a guitar riff--all within the same stride. Switching, the tune splits to what could be a ‘70’s flashback’ of “The Byrds” styled harmonies. However, it sounds remarkably cohesive! However, the song doesn’t remain soft. Jon makes sure his vocals are sharp and piercing, straight through the melody from beginning to end.
The self-entitled CD is the song, ‘The Likes of Us,’ which closes with a more raw and basic rock and roll platform. Although the vocals are less melodic and more monotoned, the guitar riff, in tempo, shows Daryl’s ability to be the remaining true lead guitarist. The guitar chords strums through, as the drum pangs inclusive to guitar squeals create the set up for the final ending.
I think it is the general consensus of most listeners that they are pleasantly surprised by, “The Likes of Us.” Like most bands that are fizzing out, it seems that Argy Bargy are just gaining momentum--which leads me to eagerly await their next album! For me, the British term, ‘Argy Bargy’ is not just A British term--there is nothing trite here. In fact, their delivery, higher-registered styled harmonies and tones are all wrapped up
in a varied tie of musical influences that will create a hell of a new album.