This is a tough one. First of all, I can not resort to the reviewer's standby of just labeling this in the cute way that we tend to label things (ie: rap-core, old school skate rock, etc...), and I am hard pressed to place it in any genre. That is probably what attracted Jackson Rubio to this band, seeing as how they are so intent on producing original music.
And so, in the same spirit that has brought us the indelible craftwork of Havalina Rail Company, Robert Deeble, Blaster the Rocketman, and Thee Spivies, welcome The Wednesdays. Welcome "Glass Bottle Soda Pop" and "Heart Break-a-Go Go" and "How the South was Lost." And they bring all this zaniness wrapped up in one of the heaviest, grittiest packages around. Their style could loosely be referred to as Rockabilly, but there is way too much punk rock involved. It could be called Buddy Holly Rock-n-Roll, but there is way too much distortion in the amps. Let's just call it moving rock music that will shake your booty and your mind.
The song selection variety is incredible, offering samples of pummeling Greenwich Village punk-rawk, and whimsical melody. The guitar work is nothing short of ingenious. Even a non-guitarist like myself can hear the difficulty and complexity in every quick chord change, and I can barely even fathom a picture of the finger work. "Fang" must have some massive callouses, that's all I can say, because he slides and picks around on his strings like he's typing a term paper. The vocals are very raw, and very impish, but do not overwhelm the music. In fact, the guitar driven distortion could not have a better complimentary color than the throaty crooning and gentle be-bopping that rides its shotgun. This album is not all distortion and tempo though. The last few selections are very mellow, acoustic grooves, and they bring a very satisfying end to such a ruckus trail ride.
A good example of the diversity and dichotomous nature of the album is found in the cover art. The front cover depicts a war scene, but the inner art has a cowboy theme. Very peculiar, and a very good portrayal of this unique band. I have a feeling that some reviewers will label The Wednesdays as "Rockabilly" or "Southern Punk," or some nonsense like that, but do not be fooled. You can not put this band in a box. This is by far one of the most original albums I have heard since I started reviewing albums, and it is by one of the most inventive bands I have come across since I can remember. Find The Wednesdays, but only if you are ready to have your musical horizons broadened. This is what I'm talking about baby! Keep it real!
Other coverage for this album
Decapolis 1999Reviewed by ConradThis rockabilly band is heavy on the rock. Gritty vocals and rock guitars. For the most part I enjoyed it. There were some good songs on here, and the songs that weren't so good weren't all that bad either. There was enough variety in songwriting so as to make the listen fairly enjoyable. The production could have been WAY better - but it's passable. If you're into rockabilly, at least take a…Decapolis 1999Reviewed by Tom BastianThe Wednesdays could best be described as white trash punk rock, with a rockabilly flare. I hope that doesn't offend anyone, but it just really seemed like the best way to describe it. I guess it would also kind of fall into the psychobilly category. The production on this CD isn't the best, and overall the musicianship kind of sounds sloppy, but I guess that's the point with this style of music.…Decapolis 1999Reviewed by Matt ASome pretty standard pop/punk here, which isn't necessarily a bad thing, as I like it when it's well done, and these guys do it well. My initial comparison was to "Bark Like a Dog" era Screeching Weasel. The catchy pop/punk stuff that gets stuck in your head. If you like the aforementioned Screeching Weasel or good, catchy pop/punk I think you'd enjoy the Wednesdays. B+The Phantom Tollbooth 1999Reviewed by Josh SpencerThis album sounds like a tape somebody would've shoved into your hand at a sweaty '80s hardcore punk show. It has that flat, poorly mixed production of early Crucified or Crashdog, kind of annoying in today's climate of perfect sonics but providing a sort of rough underground authenticity just the same. The distortion seems constantly on the verge of disintegrating, yet is somehow held together…The Phantom Tollbooth 1999Reviewed by Alex KlagesThe music on this album is throwaway music. By that I don't mean that the CD is destined for the wastebasket, but that it's played in a punkish, free-for-all manner that is at once technical yet loose, stylish yet free of stylistic considerations. More importantly, it's a lot of fun. These 3 brothers, "The Duke" on bass, "The Threat" on drums, and "Fang" on guitar, play their Southern-fried punk…Similar sounding releases
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