Phil Dirt - Reverb Central - PO Box 1609, Felton, CA 95018-1609 USA Jerry Cole and his Stingers - Guitars A Go Go!
|Jerry Cole may have been on a lot of sessions, but his solo work was always uninspired and mostly dismissible. There are a couple of OK tracks here, but mostly it's just studio session quickie derivative writing and sterile playing.|
Picks: Boss Hair, Curfew, Mustang, The Pursuit, The Green Monster, Movin' On, George Played, Yeah, Yeah, Yeah, Stripped Gears, Mo Jo, Sloppin', Ventures Venture, Hip Hugger, Stroker, Pealin' Out, Along Came Mary
Track by Track Review
Studio guitar rock with no power or particularly interesting style. The tone is dry and the pace is moderate. Riff rock to the max, very repetitious, and displaying little creativity. You'd have to look long and hard to locate anything remotely like a melody.
"Curfew" is a fairly monotonous track despite it's Bo Diddley rip-off riffs. The double picked bits are tasty, but they don't make up for an otherwise ho-hum track.
Heavy fuzz, like he just bought a new pedal and couldn't find a setting less than 11. This is reminiscent of Hollywood psychedelic party scenes... nothing like the real thing. There's a curious recognition of changing times as viewed from the outside.
Grungy hot rod sounds, thrashy guitar chords, riff rock played loudly while the race goes on. Sometimes the engine revs merge with the guitar. Semi-interesting.
The Green Monster
This Hollywood studio excuse for a rock instro has volume but little real flair or edge. Like most things written on the fly at these sessions, it's a quickie riff repeated with formula sound effects and a rough idea of a style.
Your basic soul bass-guitar lock-sync riff, with a bit of whammy dippin', and a restrained sax. Precision at the expense of humanity.
"And Then He Kissed Me" is suggested in the rhythm track, but without that kind of intense energy. "George Played" floats along with great clarity and lack of direction.
Yeah, Yeah, Yeah
"Yeah, Yeah, Yeah" loosely translates into "No No No." A really basic riff track with uninspired jammin'.
When you neglect to use the clutch, you're likely to get "Stripped Gears." This is a pale and almost direct rip-off of Lonnie Mack's "Wham." The funny thing is that it has more spunk than anything else here, but the derivative nature of it slows it down.
It's funny to hear the meter difficulties (read looseness) the studio players have in the beginning. With the bass plugged through a fuzz box, this Bo Diddley borrowing at least has something going for it in the aural department.
"Sloppin'" describes the lumbering countrified inebriation of the whammy dips and the like. It's a liberal borrowing of "I Like Bread And Butter" in an "I'm too cool for words" arrangement.
Surf Rock (Instrumental)
It's hard to hear the Ventures in "Ventures Venture." There's island whammy and a roundish tone, but not really their sound or style. It's actually a decent track, on the verge of surf. It's even fun.
Yup, soul instro borrowing and guitar noodling. Sorry, but I didn't find this very interesting, and it' leans too heavily on the work of others, including "The Manhattan Spiritual."
There's those hot rod sounds again. The track is pretty derivative fifties hot rod riff rock.
Surf reverb, volume on the guitar amp, and a heavy riff that quickly gets lost in a mostly thick jam. It's got some of the spirit and almost the feel of surf.
Along Came Mary
Chuck Berry writhes in the bowels of this track, with "Go Johnny Go" ringing in their earls as they "wrote" this. Just riff chunkola.