The Greenhornes Albums (4)
What The Critics Say
Do the Greenhornes really need a "greatest-hits" album at this point in history? In a better world, they would -- of the many bands on the "nuevo garage" scene, they're one of the few whose blues-wailing sounds sincere and not forced, and who can cop the snazz of the Stones, the Pretty Things, and the Yardbirds while bringing something of their own personality to the picture. However, in the early innings of the 21st century, the Greenhornes unfortunately have a cult following rather than a mass audience like so many trading in real rock & roll, and rather than serving as a one-stop-shopping place for the group's many wildly successful platters, Sewed Soles instead allows folks just recently catching on to this fine band (perhaps because of the endorsement of Jack White or their presence on the soundtrack Brokeback Mountain) to hear how they've progressed to their current level of cool. Sewed Soles features representative cuts from the Greenhornes' first three full-length albums (The Greenhornes, Gun for You, and Dual Mono), two tunes from the East Grand Blues EP (their first release for V2), a rare single side produced by that Jack White fellow, and two previously unreleased alternate takes. Capable of shifting from slinky groove ("There Is an End," featuring Holly Golightly on guest vocals) to full-on R&B muscle (the bruising "Can't Stand It") whenever they please, these 19 tunes tell you all you need to know about how good the Greenhornes can be on record, and Sewed Soles is an ideal introduction to an unsung powerhouse on the American rock scene. Give it a listen, and wait patiently for album number four. ~ Mark Deming, All Music Guide
What The Critics Say
The Greenhornes' third album for Hoboken indie Telstar changes very little (if any) of the group's standard formula. With the addition of new guitarist Eric Stein however, the Cincinnati garage rockers' dead on British Invasion-meets-Midwest is more powerful and crisp sounding than ever. "Satisfy My Mind" may only have three basic chords, but Stein lets them ring out as if he invented them himself. In fact, the Greenhornes so perfectly nail the careening, rough side of 1960s pre-psychedelic rock & roll that they leave almost no room to consider the music in any other context. They even add gimmicky harpsichord to more than one tune, a trend that was dated as soon as the Yardbirds did it. None of this takes away from the enjoyment of the group's utterly basic, aggressive sound, but it's hard not to envision the Greenhornes becoming the soundtrack band if someone ever decides to film the Jeff Beck story. ~ John Duffy, All Music Guide
What The Critics Say
Unlike many garage revival records, what stands out about the Greenhornes' self-titled release is that their original songs sound better than their covers. While remaining true to the '50s blues and '60s rock/mod pioneers which clearly influenced them (think Stax meets Kinks), the Greenhornes have established themselves as classic songwriters in their own right. Produced by John Curley (formerly of Afghan Whigs), the album is a compelling blend of vintage and modern. Slow-tempo, melancholy ballads like "Stay Away Girl" alternate with rumpshakers like "Lies" and "Nobody Loves You." However, it's Fox's vocals (once described as "worn") which are the magic element on the album. It's hard to believe that it's really just a 24-year-old white kid from Ohio singing these songs. ~ Alex Zorn, All Music Guide
What The Critics Say
On this sizzling garage rock debut, Cincinnati, OH's Greenhornes showcase their talents at combining solid early- to mid-'60s Stones/Kinks-style rock with a jovial mod influence and Detroit blues-rock punchiness. Their lineup features former members of the Nevada Death Band, including Craig Fox on guitars and vocals, Brian Olive on guitar and backup vocals, Patrick Keeler on drums, and Jack Lawrence on bass; the pervasive organ right up front in the mix comes courtesy of spectacular keyboardist Jared McKinney. There are ten blues- and soul-tinged originals here in all, along with two blistering covers (including the old Blues Project chestnut "Wake Me, Shake Me"). Fox's multi-range singing talents are wildly apparent on howling rave-ups like "No More," "The End of the Night" (a song about the nature of dysfunctional relationships), and "Going to the River," or blue-eyed soul numbers "Hold Me," "I've Been Down," and the smoky "No Friend of Mine." ~ Bryan Thomas, All Music Guide
