The Smith Westerns – The Smith Westerns
HoZac/Bachelor/Rob’s House
Reviewed by Chip Norman

The Smith Westerns self-titled debut is a promising and not entirely confident first for this Chicago power-pop outfit. In the best moments, The Smith Westerns plays like No Bunny covering Marc Bolan. This mostly good idea is met with considerable pay-off in the band’s proficiency for catchy hooks and restrained song-structure. Unfortunately, there are lesser moments during which The Smith Westerns sounds like, well, No Bunny solo– a prospect that is not as exciting.

Such is the case with “Gimme Some Time,” an otherwise likable song that reminds of the rabbit to the point of irritation. I wanted to be drawn into this track, but the overly familiar characteristics of the vocals and hooks wouldn’t allow it. Unfortunately, roughly one-half of The Smith Westerns is plagued with similarly blunt references that detract from the potential indicated in the remaining cuts.”My Heart,” for example, is an uncanny merger of Jay Reatard verse and No Bunny chorus. So much so that I was caught off guard. The song is well-written and an enjoyable listen, but by cutting it so close to the influences, an uncomfortable feeling of guilt is carried into any appreciation to be had.

The Smith Westerns’ senior influences are emulated with even less subtlety. “Girl In Love” riffs on Gary Glitter’s “Rock & Roll” so overtly, that one can’t help but draw The Smith Westerns convictions into doubt. For myself, this is a problem. You see, as a critic, I evaluate the value of bubble-gum fuzz on the likelihood of the artist’s being a sexual predator. With these Smith Westerns…I just can’t be sure. The songs are good, and at times very good, but they need either to roll with the big boys or stay out of the daycare.

On the positive side, The Smith Westerns tunes which are less pronounced in their influences demonstrate a capacity for matching the band’s idols without sacrificing artistic identity. Album centerpiece “Tonight” sounds as though produced by a band more confident than other tracks might suggest. Keeping spirits up is “The Glam Goddess,” a praise and worship hymnal to T-Rex that celebrates without copping. Additionally, tracks like “Diamond Boys” promise a great live show. If each cut on the first-side of the disc possessed the self-assurance evident on side two, I could praise The Smith Westerns without qualification.

Pending the success of this solid first release, The Smith Westerns will be facing the serious temptation of continued garage-punk trend-baiting. For every No Bunny album, there will be one thousand name-less, face-less 7″ releases to be found only in the darkest corners of the internet. Much of this bubblegum overflow might be worthwhile, but will be known only by a precious few and for only so long as the fad endures. For continued success, The Smith Westerns are now tasked with producing a second release all their own. These boys need to distance their work from the glut of resurgent power-pop garage. If they can play up the bombast, ease the lo-fi security blanket and stop riding the Reatard/No Bunny train, The Smith Westerns might go well beyond being just a good band.

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