ZUTONS - You Can Do Anything

Among the most relevant names in Liverpool's crowded, thriving scene, one cannot overlook the Zutons, already responsible for two albums that enjoyed decent success in England, honoured by a lucky (and thoroughly successful) cover credited to Winehouse/Ronson (the song was "Valerie", originally appearing on the band's second LP, "Tired Of Hanging Around", from 2006), and right now back in the music headlines with a brand new record, produced by a heavyweight like George Drakulias. Often lumped together with fellow townsmen Coral, the Zutons have actually always stood out for a sincere revivalist streak, with eyes (and ears and heart) fixed firmly and consistently on a somewhat postcard-perfect vision of the great American rock dream (which perhaps makes them closer, in truth, to Magic Numbers), via a path that, starting out by explicit admission from certain records by Frank Zappa and Captain Beefheart, has since progressively widened its range of reference, absorbing elements and sonic suggestions from the most disparate sources.

The band itself has always shown a compositional talent and verve above the average of many other groups of their generation, as well as a decidedly substantial grounding in musical culture and stylistic eclecticism, which has always translated into elegant collections of songs that are flawless in form, if excessively mannered in their rehashing of models all too reverently observed in their mastery. The new record doesn't upset these preliminary observations: at times it sounds like a reckless hybrid of Animals, Traffic, Dexys Midnight Runners and Steely Dan, able to fuse and knead classic beat rhythms together with rhythm'n'blues jolts and wonderfully joyful soul openings (heightened by a generally effective use of horns, just listen to "Harder And Harder", "Dirty Rat" or "You Could Make...").

Here and there (bearing witness to the album's "Los Angeles" genesis) there also surface some quintessentially American singer-songwriter numbers, stuffed with echoes of Ry Cooder or Tom Petty, such as "Little Red Door" or "Don't Get Caught", but on the whole the band's extraordinary flexibility and lively stylistic multilingualism represent both the greatest strength and the most evident limit of their music, still too reluctant and elusive when it comes to working out a more personal code and a more innovative signature inclined toward adventurous risk-taking (as, some will recall, their debut album also hinted at here and there). That said, splendid tracks like "Bumbag" are far more than a slim, simple consolation.

If "new" isn't the key category in your definition of quality music, and if all you're after is genuine passion and love for rock and for its less secret history, take a trip round these parts: you'll certainly find plenty to enjoy.

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12/08/2008