Sideburn continues its "pub-rock" mastery with Cherry Red
Sideburn, Cherry Red (Suisa, US distribution cdbaby.com), www.sideburn.ch
By Thom Copher
Sideburn is, quite possibly, the best-kept secret in rock and roll... stateside, anyway. The
Swiss-based band has churned out quality releases on the right side of the pond for nearly
twenty years, and now it is only fitting that western ears get turned on to the band's
interpretation of good ol' Australian-style "pub rock."
Cherry Red is the band's fifth release since restructuring itself as a straight-forward
boogie-rock outfit in 1997 - three discs in the early 90s saw the band flex its then-metalized
Marshall stacks as Genocide. The new album finds the veteran band serving up a set that
touches on a number of influences which stretch across the pubber-genre's landscape.
The first couple of songs which I heard (via the internet) from Cherry Red immediately drew
me to the tightness which is crucial for a band in the pubber mode. "Gimme the Way" is an
obvious first single with its infectious riffing and identifiable anthem style. However, "Ghost of
1980" really hooked me; the song is dedicated to AC/DC's legendary late singer, Bon Scott, so
I had to give the tune a critical listen. "Ghost" is classic with its influential stylings of the
Down Under giants and really grasps the elements which make pub rock such a universally
appealing and timeless rock and roll entity.
Make no mistake, though... Sideburn is not an AC/DC rip-off (nor does it steal the thunder
from fellow Swiss rockers, Krokus, who also perfected blues-based boogie style back in the
day). The band, in fact, cites the legendary Australian band Rose Tattoo as its main
influence. "Wild Boy" and "Rock and Roll Queen" capture much of the Tatts raw-powered style
which lends to a rock/punk crossover appeal; "Lipstick Lady" and the title track bring in a
southern-rock slide guitar sound (a Tatts staple) which further expands Sideburn's command of
its widely-spanning pubber influences. Heavy rockin' with a melodic touch (a la the lesser-known
Aussie band, The Angels) is also respectfully represented on the tracks "Lane" and "Hurricane
Race."
Sideburn eventually draws from a couple of pub rock’s cornerstones: "Down and Dirty," complete
with its omni-present harp break, recalls a very bluesy-period Led Zeppelin while "Stand Your
Ground" treads along the revered Bayou reverberations of Creedende Clearwater Revival.
All in all, Sideburn is one band which is not hesitant to wear its influences on its sleeve. The
end result is an album that is exciting through great songwriting which never gets bogged down
with predictability. Fred Gudit (rhythm guitar), Lionel Blanc (drums) and Michel Demierre
(bass) are a rock-solid rhythm section which is perfectly complimented by the ecclectic lead
work of Boris (no last name needed, thanks). Vocalist Roland Pierrehumbert is outspokenly gruff
throughout, sounding somewhere between Nazareth's Dan McCafferty and Udo Dirkschneider of
Accept... a blend which surfaces as familiar yet unique.
Cherry Red is a great album in the tradition of Back in Black where variety and songsmanship
mesh for a disc which succeeds by the shifting of gears in all the right places. It's pure
rock - Aussie style with a slice of Swiss.
Sideburn, Cherry Red (Suisa, US distribution cdbaby.com), www.sideburn.ch
By Thom Copher
Sideburn is, quite possibly, the best-kept secret in rock and roll... stateside, anyway. The
Swiss-based band has churned out quality releases on the right side of the pond for nearly
twenty years, and now it is only fitting that western ears get turned on to the band's
interpretation of good ol' Australian-style "pub rock."
Cherry Red is the band's fifth release since restructuring itself as a straight-forward
boogie-rock outfit in 1997 - three discs in the early 90s saw the band flex its then-metalized
Marshall stacks as Genocide. The new album finds the veteran band serving up a set that
touches on a number of influences which stretch across the pubber-genre's landscape.
The first couple of songs which I heard (via the internet) from Cherry Red immediately drew
me to the tightness which is crucial for a band in the pubber mode. "Gimme the Way" is an
obvious first single with its infectious riffing and identifiable anthem style. However, "Ghost of
1980" really hooked me; the song is dedicated to AC/DC's legendary late singer, Bon Scott, so
I had to give the tune a critical listen. "Ghost" is classic with its influential stylings of the
Down Under giants and really grasps the elements which make pub rock such a universally
appealing and timeless rock and roll entity.
Make no mistake, though... Sideburn is not an AC/DC rip-off (nor does it steal the thunder
from fellow Swiss rockers, Krokus, who also perfected blues-based boogie style back in the
day). The band, in fact, cites the legendary Australian band Rose Tattoo as its main
influence. "Wild Boy" and "Rock and Roll Queen" capture much of the Tatts raw-powered style
which lends to a rock/punk crossover appeal; "Lipstick Lady" and the title track bring in a
southern-rock slide guitar sound (a Tatts staple) which further expands Sideburn's command of
its widely-spanning pubber influences. Heavy rockin' with a melodic touch (a la the lesser-known
Aussie band, The Angels) is also respectfully represented on the tracks "Lane" and "Hurricane
Race."
Sideburn eventually draws from a couple of pub rock’s cornerstones: "Down and Dirty," complete
with its omni-present harp break, recalls a very bluesy-period Led Zeppelin while "Stand Your
Ground" treads along the revered Bayou reverberations of Creedende Clearwater Revival.
All in all, Sideburn is one band which is not hesitant to wear its influences on its sleeve. The
end result is an album that is exciting through great songwriting which never gets bogged down
with predictability. Fred Gudit (rhythm guitar), Lionel Blanc (drums) and Michel Demierre
(bass) are a rock-solid rhythm section which is perfectly complimented by the ecclectic lead
work of Boris (no last name needed, thanks). Vocalist Roland Pierrehumbert is outspokenly gruff
throughout, sounding somewhere between Nazareth's Dan McCafferty and Udo Dirkschneider of
Accept... a blend which surfaces as familiar yet unique.
Cherry Red is a great album in the tradition of Back in Black where variety and songsmanship
mesh for a disc which succeeds by the shifting of gears in all the right places. It's pure
rock - Aussie style with a slice of Swiss.