Live Daily reviews Toadies “No Deliverance”
Album Review: Toadies, “No Deliverance” (Kirtland)
By Tara Hall / LiveDaily Contributor [ original article ]
As if they’d never disbanded and spent seven years doing everything but playing together, Fort Worth, TX, rockers the Toadies have delivered a spanking new album that proves true musical talent transcends time.
“No Deliverance” doesn’t regurgitate the memorable bass line of 1994’s smash “Possum Kingdom” or other catchy hooks from days past that really worked for them–though maybe a touch of the warped imagery (anyone remember “Tyler?”) does resurface. Written by perpetually angry-looking frontman Vaden Todd Lewis, these 10 tracks reintroduce late-’90s fans to–and acquaint a whole new, younger generation with–his creative ability to turn four-minute songs into mental storyboards, all the while attached to a soundtrack of chest-pounding bass and wicked guitar.
The Toadies–original members Lewis, guitarist Clark Vogeler and drummer Mark Reznicek back in action along with newbie bassist Doni Blair–are returning to their “bare knuckles element,” as Lewis likes to put it, and the title track exemplifies that. Deep, pulsating bass accompanies wailing guitar while Lewis’ brusque vocals turn slightly creepy and soar from scratchy whispers to his signature shouting.
From the opening track, the fast-paced and relationship-related “So Long Lovey Eyes,” through “Flower,” a powerful rant that’s probably as romantic as the Toadies get, the record feels like a natural progression for the rockers, while the remaining four songs change it up. “Hell In High Water” showcases Reznicek’s stellar drumming ability, his rumblings and high-hat accents the musical focal point behind the rhythmic guitar and bass. “Don’t Go My Way,” the first track Lewis penned for the new collection and a warning to his daughter to steer clear of the music industry, unravels like a well-told scary story, a slow, cadenced creep into an eventual chorus that begs to be recited. Most worthy is “One More,” which rattles the cage with its addictive, lullaby-like instrumentation and dark, leading lyrics (“she turns the lock on her bedroom door/she finds the answer/she takes one more/and one more …”), leading to the obvious question: is it okay to put a song about drug abuse or worse, teenage suicide, on repeat?