[rating=8.00]
Visually, you can’t help but notice the eerie resemblance of Struts’ frontman Luke Spiller to the late king of Queen, Freddie Mercury or even a young Steven Tyler of Aerosmith. On the band’s U.S. debut Everybody Wants, Spiller’s delivery is all his own and the solid musicianship of guitarist Adam Slack, bassist Jed Elliot and drummer Gethin Davies only help confirm what the hype has been about with this young band who has already headlined their own tour, graced the stage of many festivals and opened for the likes of the Rolling Stones and Motley Crue. Everybody Wants is chock full of gold and there are many highlights.
The album starts with the ticking of an analog clock, the strike of a cigarette lighter and Spiller spewing an intriguing monologue before the band kicks up the dirt with the rockin’ “Roll Out”. Spiller’s is unapologetic, with his well-annunciated rolling r’s, and pompous vocal flair, declaring the obvious – that he is the Master of the House for this musical circus. No time is wasted, as the arena ready rock anthem “Could’ve Been Me” explodes with a catchy, foot-stomping and fist pumping worthy sing-along chorus.
Though tough to call, “Kiss This” may be one of brightest spots of the album, with Slack’s funky guitar backing inspirational lyrics that may just provide the confidence to stand up for oneself, “I did all I could/So kiss this one more time/’Cuz I’m gone for good/You misunderstood/So kiss this one last time/and I’m gone for good”. “Kiss” is a well-crafted, dynamic rock and roll song that is a pleasant earworm for all. Don’t be surprised if you program this one on repeat.
“Put Your Money On Me” is another track that rivals “Kiss” for superlatives. The combination of Davies’ and Elliot’s backbeat may bring one to turn it up to 11. Slack’s bluesy guitar solo is short and sweet, cleverly not overplaying and helping to provide another perfectly concocted track. “Mary Go Round”, is lyric-savvy ballad and paints brilliant imagery with offerings such as, “I can’t even pour myself a glass of wine/Because every glass is stained with your lipstick shine”. Spiller’s voice takes on a new identity and Slack’s orchestrated solo is a nice touch before the string section rolls in.
Shine a light on the disco ball and turn up the volume with “Dirty Sexy Money”. This song should’ve been considered for the theme song of HBO’s music industry drama, Vinyl. Maybe it’ll be up for consideration for a Studio 54 project because it sparkles and oozes with sleaze and the balanced sound of both disco and rock excess. “The Ol’ Switcheroo” is a swingin’, tongue-in-cheek homage to the hedonistic lifestyle of the 70’s glam rock. Just listen to the first part of the chorus, “‘Cuz I want what he’s got/And he wants what I’ve got/And I know what you want/So let’s trade what we’ve got”. “Switcheroo” is classic fun to at least sing and dance to.
The melody of the quirky “She Makes Me Feel Like” may be an unintentional nod to the Kinks’ “Waterloo Sunset”, but it’s more upbeat and commercial which would certainly get radio play if offered up as a single. The punchy beat of the album keeps chugging along with “Young Stars”, a seemingly autobiographical take on the band’s own career. There’s a glimmer of the Bowie penned, come Mott the Hoople hit single, “All the Young Dudes”. And, from what we know about Spiller at this point, it’s clear that he gives zero fucks, and that expressing his art is paramount.
In “Times Are Changin'”, Spiller and Co. come across as self-realized artists who are fully aware of the world swirling around them. This track is the album’s anvil that drops to deliver the party invitation from the boys. It’s also a perfect segue to the album’s finale, “Where Did She Go?”, another barn burner that ties the whole album together with more arena-rock choruses, layered guitar leads, modulated choruses and all the glam and glitter needed for one hell of a celebration.
