I went into this album not knowing what to expect really. I wasn’t familiar with this band, despite their lengthy history, and only recognized names like Waddy Watchel and producer Bernard Fowler from their association with The Rolling Stones. In all honesty, the title made me giggle just a little. However, I was wrong to harbor any suspicions. This isn’t some hackneyed rock and roll cliché; instead, this album, even at its most down and dirty moments, is a celebration.
The Respectables may travel some well trod paths, but they always opt for traveling in their own unique way. The celebratory side of their music is what I like best; there’s nothing ironic or kidding about their approach, they go after rock and roll, blues, and even a smattering of country music with wholehearted vigor and make it work each time out. That joyfulness in their performances seldom hits the same stride it does on the opening song, the title cut, and the video for the song totally reflects that. It has some strong guitar work thrown in for good measure from guest player Waddy Watchel, a respected veteran who’s played with Bob Dylan and Warren Zevon among others, but what really makes this song a fun hearing is that joy you hear in their music making. It’s unrestrained, yet artful. Watchel appears on “That Girl” as well, though his presence isn’t as strong as we heard in the first song, but it nonetheless enriches an already fine tune and the second track’s chorus is definitely just as delectable as what we heard with the opening number.
“Give Some” riffs away with the heaviest guitar work on the album, but the band never crunches for the sake of crunching; it’s a melodic guitar riff that hooks into your brain and pulls you along for the ride. The vocals are every bit as melodic despite the more rugged feel, overall, from the arrangement and it just brings another strand into the musical thread of this album. It’s a welcome addition. I love when they latch onto the bluesy vibe sustaining the whole of “Wheel in My Hand” and it’s another of the band’s songs that uses movement and cars, in particular, as a metaphor of sorts for describing the songwriting point of view. There’s a bit of a storytelling side coming out here, never overemphasized, and the conversational style of the lyrics and vocals helps it stand out even a little more than the album’s other fine tunes. “As Good as Love Gets” takes a decidedly unexpected turn as the band brings in a full string arranged courtesy of Jeff Bova to compliment an already exceptionally fine song. Despite the surprise, it doesn’t ever feel untrue to the band’s spirit.
The second to last and final songs, “18 Wheeler” and “Highway 20” respectively, are great tunes to feature near the end of the release as they move in a more country direction, never anything like modern “country”, and sound equally true to the band’s character. Instead, you get a sense of the band slowing things down a little as the conclusion draws near, and it’s reflective of the thought they’ve put into the album’s construction and track listing. The Power of Rock ‘n’ Roll, risking cliché, has something for everyone and anyone who hears it will undoubtedly agree