Strawberry Blondes (UK)
Rise Up
By Jillian Abbene
(SugarBuzz Wash DC/Richmond)
SugarBuzz Magazine
In addition to receiving the latest LP in the mail from Drongos For Europe, “Dance When Maggie’s Dead,” the Strawberry Blondes’ debut CD, “Rise Up,” is the most highly anticipated CD of the year -- well, in my book. When discovering these guys back in 2004, I knew it was just a question of time before this band would evolve into something great. My predictions were right. Honestly, there is not one song on “Rise Up” that wanes.
Every song is incredibly catchy, and having the best of what punk rock has to offer—proves my living motto that they do not have to answer or cater to any one. Making a conscience effort that may be deemed as envious by most, live the lifestyle of gulping down massive amounts of rock-n-roll, busting out the jams in pure survival mode, staving off the self-refuted existence of the blank generation, all the while screaming out messages about flooded media-hype and suburban trifling foolishness, makes burning down the walls of struggle and injustice, a justifiable solution. Like-minded listeners will claim this CD as a classic, without giving it a second thought.
Straight away, the first song, ‘Rise Up,’ opens with a warning siren that sheers through a simplistic melody as clever trumpet lines are spotted by Sister Suicide and Ginge Knieval on bassline. There is an effective catchiness along with plenty of group-chorus vocals as Mickie Stabbs, the lead vocalist, throws all caution to the wind and calls out scratched lyrics in shout-anthem conviction.
With an anticipated drum roll, ‘Rebel Rebel,’ is a Clash-inspired stand-out track with inclusive scratch guitar-slides from Mac Mayhem, and with Mickie controlling the emotions on the song with his hacked-out vocals. There are little pockets of vocal resistance all over this CD with screams like this spontaneous line, “Got the great Joe Strummer on the stereo,” that adds a special texture pegged right into all the right the skeletons of The Clash and Rancid.
Then there is, ‘Johnny Two Combs,’ which opens with solitude drum ticks from Joey Biggs, who tributes street punk-n-roll and to the band’s fellow comrade/lead guitarist, Johnny Skullknuckles from Goldblade. In the middle, a surprised echo-dub effects doesn’t miss a beat as the chorus is then again picked up as shouts of, “rebel, rebel,” are threaded throughout the ending. With a steady flow of Mickie’s heavily-accented Welsh lyrics and as Mac Mayhem breaks evenly into a great 50’s guitar-belter, this song has a change of pace, without changing Strawberry Blondes’ core components.
‘End Of The World,’ fittingly, has added vocal resistance from lead vocalist and fellow King Mober, John Robb—frontman for Goldblade with Joey Biggs leading on drums. There is no fucking about. This song is effective in vocalizing adult frustration in the first verses of screamin’ gospel as this song is for those that need to rise up because they are fed up. Lined with a catchy chorus break-up with repeated lyrics on, “burn, burn, burn, down the suburbs,” the energy winds down with a guitar scream in 1980’s Generation-X style, finishing the song.
However, ‘Young, Free ‘N Easy,’ says it all in one rock-steady motto. Accapella in the first lines, slashing out collective instruments, Mickie pours everything into the vocals, encapsulating the universal state of mind in an all-balls-out, fantastic rip-roar with, “cuz we are young -- !” that brings chills every time. This song rings true as their best.
Following suit and shouldering a very catchy, mid-tempoed heavy, the chorus, ‘Rip It Up,’ is bated for throwing fists and sing-a-longs that are tailored for live performances. Sister Suicide adds another layer of texture with her trumpeteering, spicing up a unique bulk to the tune. Although less than obvious dubs in the bridge splits, it is very effective as it blurbs just enough to let everyone know that the great Don Letts/Donovan Cartel are at work.
In closing, interestingly, there are two versions of, ‘Beat Down Babylon.’ The first version has Mickie and John Robb sharing the vocal wheel. John’s signature reggae bantering atop echoed-grated reverb, and overlapping chorus-blurts, builds an intense fervor. The second version of this song ends the CD with pirating dub expanded in synth workings, giving it an added relaxed vibe. The distant three-chord strum-chime intermissions into a hold-steady with added beat-pounds of the wooden block. Slowly the song ends with instruments subtracted in succession phasing out in a fade out, with just a few fuzz-twangs.
Don’t let me try to convince you otherwise. Go and purchase this CD from their label, Deck Cheeze, or www.Interpunk.com. Their songs do not need convincing as I also predict that The Strawberry Blondes will break out as the next heavy hitter.