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The Manchurians

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The Manchurians

Check out The Manchurians other CDs: 5x4/The Minster EP One For All

1. Deliverance
2. Come See Me
3. Listen Everybody
4. Scared Rabbit
5. Crawlin' In The Dark
6. Curse Of Love
7. Something To Gain
8. Brutal Love
9. Desperate Hours
10. I Can Tell
11. Spy Vs. Spy

STYLE: Chicago R&B, Rock-n-Roll

HOME TOWN: Meriden, CT

Issue #91                                              Nov. ‘06

Brothers and Sisters,
I believe that music is the love of the world,
That music was bestowed upon us to express our pain, sorrow, aches, wants and needs, our insecurities, disappointments and failures. That it is also to cure our ills, give life to our joys, goals, and accomplishments, to revel our triumphs and glory. It is there to provide us with an outward expression and communicable emotion of life in all its facets.

So I ask you; What do you ask of your musical gods?

If you ask for divine intervention, then say, Amen!
If you ask for redemption, then say, Hallelujah!
But, if you ask for Deliverance, then say, The Manchurians!

Yes the new CD, Deliverance, by The Manchurians has the power to deliver us from life’s ills with a gospel of Chicago style Rhythm and Blues that just explodes out of the gates with what has to be the best opening track these ears have ever heard. The title track is too powerful for mere words; the instruments stake their own claim right out of the box. A Gospel blues delivered with the fury and conviction that drove the early punk movement, married to the solid mid ‘60s Blue Cheer/Vanilla Fudge/Cream style blues, while attacking with Led Zeppelin bombast and holding close such emissaries as Junior Wells, Elmore James, and Sonny Boy Williamson.

You know I’m ready / You know I’m bound / Just lift me up / to a higher ground

Roger C. Reale’s gravel vocals transform this self-described, “white boy from the suburbs”, into a hard core, smoke-ravaged, whiskey-fueled, blues man, who lays down a mean bass to Mat Reale’s John Bonham worthy drums. Mike Roth and Dean Falcone’s guitar work belong on the blues club stages paired with Bob Orsi’s unmatchable Harmonica work. There just isn’t a modern day working R&B band that can justifiably play this style music with the conviction and pride that The Manchurians display throughout this 11 track album of juke-jumping, shoulder-shaking, hip-thrusting, down-n-dirty, all out good time, party pleasing, olde time Rock-n-Roll.

Listen to the Bo Diddley beat of Brutal Love, it’s the Banger of the bunch, played with more sheer power than I’ve ever heard; pure House Shaking, Blow me down power! Play It LOUD! Picture Led Zeppelin in a Chicago Blues bar in 1958 playing straight out Bo Diddley beat blues accompanied by a harp player that has the magnitude to carry the band, just as the band carries the harp. Hip-banging excitement right from Roger’s opening “I got sssssuuumthin’ ta……….tell ya,” this is a Jamfest spectacular. Include that, with that the riding-the-rails boogie woogie of Scared Rabbit (think Grateful Dead by way of The Band), the full gallop attack of Crawlin’ In The Dark, complete with a middle bridge Jam of awesome proportion, and the honky-tonk, swamp boogie of Desperate Hours (with Mike Roth on lead vocals), and if your not dancing on the furniture drenched in a sex starved sweat, then you must be dead.

A sex starved sweat? Yes, because just as traditional R&B lays its heart out with heartbreak, it’s usually the sex that gives the genre it’s “what-to-for.” And The Manchurians deliver with the passion and glory of all their ancestors. Starting with Come See Me, a pure manic mating ritual that smacks of Southern hospitality and frankness, this dance floor provoking hook-up-no-matter-what statement lays the groundwork for the sex-fueled provisions of the genre. Listen Everybody borrows the funked-up, stripped down back beat of The Pretenders, My City Was Gone, and delivers Rhythm and Blues as the ultimate foreplay. Again, using the sexiness of down home Southern hospitality, the raw backing vocals of the chorus “Everybody’s gotta have somebody / Everybody’s gotta find somebody / Everybody’s gotta want somebody / Everybody’s gotta need somebody,” make us want to “Woo Hoo” and do the horizontal bop. I Can Tell gives us another dance floor foreplay bop of a preening cock in the hen house, male ego, strut your stuff ignorance that even with the admittance “I can tell / I can tell / I know you don’t love me no more,” he’s still gonna work his way back into her pants. Do you know what? With the way The Manchurians play it, you know he can and will succeed.

To make Deliverance a complete R&B album, The Manchurians also provide several asides to keep our listening (and dancing) pleasure in perspective; Curse of Love has a dangerous feel that lends an edge to this nitty-gritty diatribute of the harder side of heartbreak. The utilization of the guitar to sing the catastrophic consequences of the greatest emotion known to man – Love, or more to the point, the lack of, and/or the rejection of Love – is stirring in more ways than can be described. Something To Gain, a heartfelt ballad, finds Roger singing a duet with guest vocalist Shellye Valauskas that can be paralleled to that of Warren Zevon & Bonnie Rait fronting The Rolling Thunder Revue. Guest Violinist Ben Warner Kugielsky (from Base 2) adds a touch of eloquence as he tempers the rhythm of (fellow Base 2 member) Mat Reale’s well disciplined drumming (holding steady and reserved, it’s the drums touch that make this ballad work, whereas most would’ve pushed with a bit of overkill, and lost the song entirely). Finally, Deliverance closes with Spy vs. Spy, a raunchy run through Tex-Mex surf. As solid and as distinguished as that of Bond, James Bond, 007 danger, The Manchurians take beach blanket bingo to the darker, down-n-dirty side of surf, and we’re loving it – Go Daddy-O! Deliver Me!

Do you ask your musical gods for Deliverance?

Then say, The Manchurians.

The Manchurians - Deliverance
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