TAROCK MUSIC

When I first started reviewing Rick Shaffer’s solo material, my standing joke – then and now – is that if the Rolling Stones ever figure out how to recapture their mid-’60s mojo, this is how it should sound: tough, tight and to the point, but soulful, too.  Misadventure marks Shaffer’s fifth album on his own, away from the “day job” The Reds, which continue as a duo of himself, and keyboardist Bruce Cohen, and reaffirms the blueprint that he’s followed thus far.

If you’ve kept tabs on Shaffer’s work, you already know what you’re getting, droning, fuzztone-laced garage rock, leavened by shots of blues, with nods to Slim Harpo, and Lightnin’ Hopkins, plus the kind of down ‘n’ dirty R&B that seems a distant memory in this era of Autotuned robotic gymnastics.  This outing leans closer to the garage side of the coin, with a couple of significant variations – which we’ll address momentarily – that demonstrate why Shaffer is a compelling artist, and more than just another clever guitarist.

All jokes apart, recapturing the mojo requires getting all the details right, and adding your own creative touches, which Shaffer does throughout this album, such as using his guitar armada to double the vocal hook line, for example, which works to devastating effect on the opening one-two punch of Fooling Me and Some Say.  He also adds subtle touches of color that lift the songs above rock’s holy guitar-bass-drum trinity such as Boo Boo Spencer’s spoons and percussion, or the harmonica that punctuates the deceptive up-tempo friskiness of Out Of Time (“We’ve been walking/We’ve been talking/Now we’ve come to the end of the line”).

Misadventure also distinguishes itself through a spirited sense of vocal interplay.  While that element has always been present in Shaffer’s work, this time around, he’s playing that card more prominently than before.  For further reference, see Listen Now, another snappy garage raver built around a call-and-response between its show-me-something spirit (“You say that I’m a non-believer/But what you’re saying ain’t true”) and its two-fisted chorus (“Listen now to what I say, listen now to what I say”).  Shaffer cuts loose with one of his blistering, paint-peeling guitar solos, which he keeps short, snappy and to  the point.

The heightened vocal interplay also works well on two of the album’s other certified highlights, Turn It Up, and Falling Down, driven home by a wall of crunchy guitars and multi-tracked Shaffer harmonies.  Both songs also introduce a new vein to the Shaffer sound – in this case, rousing ’70s glam-punk anthems that he powers with ringing, single-note leads.  In some ways, it’s reminiscent of the guitar-and-vocal army approach that Lou Reed used so effectively on albums like Street Hassle (only to feed the faithful dreck like Disco Mystic and So Alone, but that’s another discussion).

Both songs stand up on their own, though it pays to listen carefully, or you’ll miss the lament for self-destructive appetites that powers Turn It Up (“. . . the things that you really be loving/You gonna do them until they kill you”), or the resigned nod over love turned sour in Falling Down (“Stop talkin’ about redemption, honey/You know it’s a lousy bet”).  Another High, on the other hand, is an altogether different beast – part garage, part psych-punk, part neo-Stooges – whose wistful bleakness (“Somebody loved you, baby/Way more than you know”) floats on top of a sea of buzzing, heavily echoed guitars.  It’s the foundation for an intriguing new direction, if Shaffer wants to explore it, and closes the proceedings on a strong, decisive note.

To a less savvy reviewer, Shaffer’s show of carrying the musical load – besides guitar, he’s also credited here with bass, fuzz bass, harmonica and percussion – might leave little room for other people’s input, but I’d maintain the opposite: vision is all too easily outsourced in today’s consensus-driven environment.  Refreshingly, that’s not the case here (although one additional bassist and three other drummers make appearances besides Spencer).  All in all, if you share the garage rock renegade’s contempt for current trends – and kept the home fires burning for the Pretty Things, and the Yardbirds, as you await the Stones’ mojo to roll again, then Misadventure should be just the ticket.

Highlights: Fooling Me, Turn It Up, Falling Down, Commotion, Listen Now, Another High

Lowlights: None, dammit!

Rating: 5 Stars (out of 5) Neither flashy nor complicated — the sound of a man who keeps on keepin’ on.

• Ralph Heibutzki, Communiques, Chairman Ralph’s Ministry Of Truth, 2014

(Ralph Heibutzki is the author of “Unfinished Business: The Life & Times of Danny Gatton.”  His articles have appeared in Bass Player, DISCoveries, Goldmine, Guitar Player, Vintage Guitar, and he is a regular contributor to the All Music Guide.)

I had the pleasure of reviewing Rick Shaffer’s second solo album titled Hidden Charms back in 2011 for Skope and I knew then that Rick had a special quality about him.  His latest release and now 5th solo effort, Misadventure, proves that Shaffer’s Hidden Charm are revealed once and for all by way of his adventurous sound.

Just as before, one will hear that raw, edgy garage rock/garage blues appeal to go along with that vintage 60’s rock ‘n’ roll vibe.  With a heavy focus on the likes of Link Wray and the early Rolling Stones material, Shaffer and his fellow musicians are taking you back to the early days but with an original twist.  The album is written and produced by Rick Shaffer as he is also responsible for the vocals, guitars, bass, fuzz bass, harmonica and percussion.  Additional players on the record include: Les Chisholm, Del Robinson and Anna Burne on drums and percussion along with Boo Boo Spencer on bass drum, spoons and percussion, and Teddy “Boy” Rixon on additional bass.  Together they have created something I would like to call Rocky Mountain Blues where Rock & Blues collide to give you one vast and explosive sound.

The new album starts off with a bang on Fooling Me with a rockin’ groove and beat to go along with Rick’s unique vocals that appear out-of-whack with the music at first but it gradually works itself out as the song rolls along.  You’re definitely getting that stripped down, garage band vibe all the way with even a bit of some punk rock influence from Rick’s vocal delivery on track 2, Some Say.  As the record spins away Rick is channeling early Stones and Mick Jagger to the point where it’s actually uncanny at times.  I had to stop myself at moments thinking “wait a minute, that’s not Mick Jagger, or is it?  And if so, where is he and what have you done with Rick Shaffer!”   All jokes aside, it really is amazing how Rick was able to tap into his inner Mick with the “Jagger-isms” in full force!  On song 11, Gone Gone Gone, get ready to go south for some swampy, rocky blues where Shaffer and company are not holding back anything.  There are also some excellent guitar riffs and hooks throughout this album along with some fine harmonica playing.

My only advice as I said earlier is to not replicate the original artist too closely because that could get you in trouble and also take away from the overall originality and tone of the recording.  Other than that I simply love what Rick has done here on Misadventure with his take on classic rock and blues.  It’s daring, it’s bold, it’s Rick Shaffer crashing the mainstream music party with open arms!  In the words of the great Ricky Nelson and The Allman Brothers, what can I say other than Rick Shaffer is a “Ramblin,’ “Travelin’ Man” moving from here to there with no boundaries in place and plenty to say.  A train’s a comin’ and Rick Shaffer’s hoppin’ aboard while chuggin’ along with some good, old-fashioned Rocky Mountain Blues.

• Jimmy Rae, Scope Magazine

Veteran singer-songwriter Rick Shaffer recently released Misadventure, his fifth solo album via Tarock Music.  The well-regarded songwriter’s storied career began in the late 70’s when he fronted the Philadelphia based New Wave band The Reds, whose self-titled debut album was released on A&M Records to great praise from critics and fans alike.  The band also went on to release records for Sire/Warner Brothers Records and had their music placed in several episodes of the original Miami Vice television series and movies like Nightmare On Elm Street 2.  Additionally, Shaffer and keyboard player, Bruce Cohen, got into composing film scores and music for soundtracks which led to Shaffer writing/composing, Looking For Right, for Michael Mann’s 2004 film,Collateral.  Recently, Universal Music reissued re-mastered versions of The Reds’ classic albums as many of them had been long out of print.

Alongside reunion albums from The Reds and more film scores, Shaffer has set out on a solo career, releasing his debut solo album in 2010.  Over the years he has crafted a brand of grungy 60’s garage-rock that incorporates touches of howling blues, backwoods country and snarling punk rock that remains planted in his past yet simultaneously fresh and modern.  He also takes great pride in the production and sound of each album, utilizing influences like Phil Spector to create a thick wall of sound as well as the raw and classic Nashville blues sound of Excello Records.  Altogether, his strong songwriting and keen ear for timeless production gives his music a nostalgic pull that pays homage to his influences without even a hint of pastiche. Misadventure was written, produced and performed entirely by Rick himself, save for additional drums and percussion from guests Les Chisholm, Del Robinson, Anna Burne and Boo Boo Spencer.

The album opens with the dueling guitar melodies and scuzzy blues rock of Fooling Me that recalls hair metal’s sleaze-filled glory days.  The first single, Some Say follows with Shaffer’s growling vocal presence set to a sinister, whip-cracking rhythm and guitars drenched in Link Wray-inspired surf rock reverb for a standout moment.  Shaffer heeds his own advice on the rollicking and aptly-titled Turn It Up, with its loud, ringing guitars, swaying vocal melodies and fun, sing-along background vocals, it gets the party started.  As a change of pace, Out Of Time offers a shuffling country rhythm, old timey harmonica and some southern vocal twang. Next, the catchy Falling Down adds some David Bowie-esque 70’s glam rock to Shaffer’s blues-drenched garage rock sound to great effect.  With buzzing guitars that veer off into a high-pitched twang and a swaggering 60’s rhythm Commotion sure causes one, sounding like the Rolling Stones in a back alley blues club for another standout moment.

Get It follows that up with a hip-shaking rhythm and some distorted blues rock guitar riffs complete with a melodic guitar solo as Shaffer adopts a slurring vocal swagger.  As a nod to The Reds, Listen Now features a propulsive New Wave beat, punk-informed gang vocals and several blistering guitar solos.  Another testament to Shaffer’s clever arranging and songwriting is To The Top, a rip-roaring blend of British Invasion, classic rock guitar heroics, Ramones-like energy and bluesy harmonica.  On paper, those things should not work as well as they do in his hands.  Help Me Now blends blues rock riffs with surf rock rhythms and the strutting Gone Gone Gone boasts slinky slide guitar and an anthemic, sing-along refrain for a nice late album one-two punch. Closing out the twelve track album is Another High which rides out on a wave of noise-addled distorted guitars and wailing harmonica, leaving you stunned, yet wanting another hit.

With his latest album, Misadventure, Rick Shaffer has crafted yet another great album of diverse 60’s-inspired garage-rock that only adds to his long list of great accomplishments.

∎ Justin Kreitzer, Atlas And The Anchor, 2014

(After years of playing in various bands, and managing a record store, Justin Kreitzer turned his experienced ear and lifelong passion for music into Atlas and the Anchor, the ever-growing indie music blog.  He’s also a contributing writer for Fabricoh Magazine, the Dayton City Paper, New Noise Magazine, and does PR for Misra Records.)

Rick Shaffer is back with his fifth solo album Misadventure and, you might well be glad to know, the musical story he tells remains the same with his raw and abrasive take on the garage rock sound once more to the fore.

Some new faces have been drafted in and that fills the sound out a bit even though the spirit of collaboration sometimes seems lost given the one man on a journey vibe that pervades the album.  In Mr. Shaffer’s favor, he has taken the time to throw in some commercially viable songs like Out Of Time this time around to remind us all of the time when he, and his then band The Reds, represented a clear and present danger to the charts.

So there you have it.  Rick Shaffer keeps on doing what he does best and that’s no bad thing in my book.

∎ Bluesbunny, Glasgow, UK, 2014

For Rick Shaffer, his career in the music industry has been an arduous, but worthwhile process and experience.  After founding the band The Reds, who had their first album and EP on A&M (The Reds, and Green With Envy), followed by several more independent  albums for Stony Plain (Stronger Silence, and Fatal Slide), and Tarock Music (Cry Tomorrow, Fugitives From The Laughing House, and Early Nothing), Shaffer made the definitive decision to embark on his journey as a solo artist.  Over the past few years, Shaffer has made sure to release new solo music, every year, ranging from his first solo album in 2010, Necessary Illusion; his 2011 release Hidden Charms; his third solo release Idiot Flats in 2012; his 2013 release Stacked Deck, and most recently, his 2014 solo venture, Misadventure.  His latest release takes Shaffer back into the stylistic sense of garage blues, unleashing a 12-track album dominated by distortion and phenomenal hooks.

The opening track, Fooling Me is the textbook definition of a jamming, driving, bright blues track.  The song’s grooving, consistent percussion heightens the track, emphasized by the repetitive, smoothly played ride cymbal tapping and constant snare drum strikes, which occur on beats two and four of every measure.  Accompanying the driving percussion is the dominance of Shaffer’s vocals and the grungy and distorted, yet melodic guitar strumming.  Amidst the powerful instrumental parts, Shaffer still manages to vocally control the track with his rough, raspy voice that drifts above the guitar tones and heavy drumming.

Following the opening track is Some Say, and on it, Shaffer doesn’t allow the mood to simmer down, nor does he allow the pace to slow down.  A faster-tempo track complete with driving, strong instrumentals, Some Say is an impeccable track to follow Fooling Me, as it keeps with the strong, rocking nature.  The percussion in Some Say seems to identify with more of a rock influence versus the percussion heavily influenced by blues on the first track.  However, the influence of blues on Shaffer’s music is still audible through the melodies and underlying tones conveyed by the electric guitar’s riffs.  Noticeable on Some Say is how Shaffer allows his voice to smooth out, permitting his delivery to be gentler, compared to the first track.  Though the gruffness of his voice is still heard, Shaffer doesn’t overreach for higher notes, which allows him to demonstrate his vocal control, but still with a semblance of roughness and raspiness.  Even until the song fades away, Shaffer continues rocking out, never letting the jam session truly end.  Some Say is another grooving track, proving that Shaffer knows the exact formula to create a composition that everyone will rock out to.

Stylistically, blues remains the foundation of Shaffer’s Misadventure, but it’s interesting to hear how he experiments and formulates his own definition of blues and rock.  His experimentation’s are overheard on the album’s standout tracks, which include Out Of Time, Falling Down and To The Top.

With Out of Time, Shaffer doesn’t deviate from his standard formula of punchy, energetic percussion combined with grungy, reverberating guitar riffs, but the experimentation comes from his other choices in instrumentation.  Along with his usual instrumentation, Shaffer adds on a sweeping, melodic harmonica part that immediately grabs the listener’s attention.  Though a minor addition, the harmonica part shifts the dynamic of the entire composition, enforcing Shaffer’s blues tendencies.  Along with the harmonica, Shaffer adds a tambourine part to the track’s percussion, a consistent and supportive choice, which never stops its sixteenth note rhythms.  Out Of Time is an instrumentally jam-packed composition, one that never lacks in energy, and one that never makes one want to stop listening.

Falling Down is more of a mid-tempo number, strengthened by its instrumental introduction.  Leading in with smooth, masterful guitar solo and the striking of a crash cymbal on beats one and three, Shaffer opts for a unique way to begin the track.  Quickly, Shaffer’s voice enters the track, but it doesn’t resonate with as much dominance as usual, as if he’s trying to give the instruments the platform to dominate.  The overpowering instruments do takeaway from Shaffer’s vocals at times, sometimes precluding the listener from hearing the vocals as well as possible.  The cymbal hits and rock-influenced, grunge guitar and bass parts are what control Falling Down, which make for an instrumentally strong track where the instruments are very much in the listeners’ face.

On To The Top, Shaffer returns to his blues roots, but a noticeable aggressiveness is overheard in his vocals: it’s a new Shaffer with even more power and dominance.  On Falling Down his ability to command a track may have been questionable, but Shaffer refutes any hesitations with To The Top.  With the accompaniment of light tambourine, auxiliary percussion, electrifying guitar strumming, and the sporadic harmonica, Shaffer yells out, “Take it back to the top – I ain’t running no more, from those things I should ignore – The only thing I been running from that heartbreak that I know will come – Living in some dream of yesterday – Take it back to the top.”  Even as the instrumentals try to collide with his vocals, nothing can take away from Shaffer’s vocal performance on To The Top.  While he’s proven that he can command a track, there’s a certain demanding nature to his voice on To The Top that showcases the true power and strength his voice has.

The album concludes with Another High which is a track that has a strong sense of all that Misadventure represents: strong and eclectic instrumentation, grungy and distorted guitar riffs, and raw, commanding vocals.  The guitar lead that introduces the track fuels the song’s positive vibes, along with the snare drum strikes and harmonica riffs that shortly follow.  With this track, Shaffer creates a mood that’ll permit listeners to chill out, relax, and truly enjoy the jam-session taking place.  There’s nothing awfully flashy about the concluding track, other than the slick guitar undertones or wavering harmonica melodies.  Overall, to conclude Misadventure, Shaffer capitalizes on his strengths of producing remarkably rocking and grooving tracks.

It’s inevitable that listeners will jam along with, tap their fingers to, and nod their heads along to Shaffer’s songs on Misadventure.  However, what is most admirable about Misadventure isn’t necessarily how infectious it can be, but how raw the album is.  It’s easily heard through Shaffer’s passionate, commanding vocals and the masterful instrumentation that music is Shaffer’s craft – a craft that he’s never given up on.  The production on the album is never too high-end, but that contributes to the album’s rawness and its overall vibe. There’s a decent range of sounds throughout Misadventure, but what truly makes it stand out is that it’s all about the craft.  Shaffer is an artist who intends on continuously mastering his craft and producing blues-influenced, strong songs, which is what Misadventure alludes to.

∎ Alexa Spieler, 2014

(Alexa Spieler’s diverse writing covers subjects such as the Vans Warped Tour, which began in 1995 as a showcase for punk rock, Music Editor of NYU’s paper – the Washington Square News, a contributing writer for Substream Music Press, the NY Music Examiner for Examiner.com, and a reviewer for ReviewYou.com.)