Innuendo - ei8ht

Innuendo ei8ht cover
Innuendo
ei8ht
XLR8 Records
2019
8
Innuendo are a melodic rock trio from Arizona, consisting of Pat Laferty (vocals), Brett Richey (guitar, keys, bass), and Tom Carr (drums), who have been at it since 1994, which is quite some time, delivering as you might have inferred from the title of this album some eight albums, through their time together.
 
The album kicks off with “Back Home”, a bright, up-tempo, simple rocker, which is somewhat reminiscent of the feelgood tracks of Sammy Hagar, minus the screaming, I s’ppose and just works. Works great in fact.
 
“Elvis” as you might have also figured up by the title, is referencing the King, but does so in a punkish hard rock way, while tongue-in-cheekily paying tribute to the man.
 
“Hard to Remember” is pop/rock perfection, which exudes confidence and just rock, doesn’t simply work… it really is the works.
 
“Unglued” isn’t your typical ballad, as it’s pretty moody, with early 80s almost wave ideas, keyboard dashes, but ultimately anchored in rock. Think Talk Talk, H era Marillion, that type of mood and feel.
 
“Dreaming On” is happier and more energetic with its slappy bass and summer vibes… and it goes down easy, but I wouldn’t say it really stayed with me… its a little bubblegummy, but at least it is pleasurable while it last.
 
“Son of a Bitch” ain’t an Accept cover, although that would have been hilarious, but an almost REM-sort of melodic rocker, with interesting guitar melodies and a somewhat melancholic tone and a chorus that kills.
 
“Coffee & Cigarettes” has the swagger and layered production of early Black Crowes while it occupies a similar territory musically. It’s a little plain, relying too much on the chorus to do the heavy lifting initially, but once the solo kicks in, things are resolved quite nicely.
 
“Glimmer” has a jazzy riff and feel like something Toto might have drifted towards on an off day, but not quite… (with white man blues thrown in there for good measure) it’s mostly chilled out, midnight hour, club vibe, just makes it stand out.
 
I dunno what to make of “Johnny Thunders’ Arm”, which ain’t too bad, but whose bluesgrass/country sort of undertones don’t make me particularly enthused, despite the nifty and fun twists and turns the band takes it through. You know what… in the end I sort of enjoyed its intentional goofiness and self-deprecation.
 
“Those Days Are Gone” is a smooth ballad, bluesy and nocturnal. While it only climaxes softly, it still does so and not everybody can say that…
 
Last but not least, the soft and smooth “Goodnight” bids the listener goodbye, in an authentically vintage and endearing way.
 
The album as a whole is unapologetic and wears its 80s pop/rock pedigree on its sleeve. It does what it does with conviction and authority, that could have only been accumulated from experience and these guys have it, after 26 years, no doubt. An album and a band, definitely worth checking out.