Stray Cats
Gonna Ball

THE REVIEW

Revival is a word that brings to mind the idea of leftover soup, or lunch pasta that you lazily reheat in a pan for dinner to make a meal without effort.

The concept is not entirely different from what happens every time we associate the name of a musical genre with the word "revival." The danger of mimicking the pioneers of the genre is always there, if not a chronic absence of new ideas forcing revivalists to produce albums full of covers identical to the originals.

The Stray Cats, on their part, "epigones" of the dear old Rockabilly from Elvis onward, decided to venture into the minefield of revivalists in the full punk era, armed with a scorching electric guitar (Brian Setzer), a double bass (Lee Rocker), and a drum set (Slim Jim Phantom).

After their successful self-titled debut in 1981, the same year saw the release of this "Gonna Ball," certainly more underrated (and less sold) but no less successful than the previous one. There's little to comment on the excellent performance quality of the entire playlist, both the originals and the covers, just as there's little to say about the contagious enthusiasm that track after track the band manages to transmit to the listener, whether an enthusiast of the genre or not, with mastery and ease as veterans (yet we're talking about barely 19/20-year-olds).

There's more to say instead about the true added value of the band and their reheated soup: Brian Setzer's guitar.

Setzer manages to give a new color, a breath of originality to every track on the album, thanks to a crystal-clear technique, dizzying and engaging solos, along with an extremely versatile and clean shouter voice, especially on high notes.

To cite a track as an example: "Baby blue eyes." During the cover (irresistible), there are 4 masterful solos, each more beautiful than the last, played breakneck and with enormous maturity. Slap bass and drums follow suit, in a state of grace, but the real reason to snag this album is the leader's six-string and its breathtaking thrilling licks.

Highlighted are "Little Miss Prissy" (shouting vocals and often layered guitars), Cryin' Shame (a simple blues riff and mouth harmonica), "Wicked Wisky" (rock'n'roll tinged with rodeo country), "Lonely Summer Nights" (a tasteful slow dance track) and slightly underwhelming "Wasn't That Good" (weighed down by horns and a bit boring) and "(She'll Stay) Just One More Day" (slightly jazzy with sax and organ but also mildly soporific).

In conclusion, a great listen, proof that oftentimes the lunch pasta is even better reheated in the pan. The important thing is to take it off the heat in time and to have a bit of an appetite. So, Bon appetit!