Georgia Satellites – Open All Night

Details:

• Year of release : 1988
• Label : Elektra 960 793-1
• Review format : Vinyl

Another one of those unsung American rock bands of the late 80’s that caught my attention and once more it’s a band that seemed to eschew the big hair and image somewhat and concentrated on a ’stand-and-deliver’ approach playing just good hard rock ‘n’ roll.

Open All Night was the second full album by the band following the self-titled release, from which the single Battleship Chains gained some UK attention. Continuing in very much the same vein the band at this time featured the notable presence of Dan Baird (g/v) who has since gone onto forge a long if relatively low key solo career, alongside Rick Richards (g/v) and Rick Price (b/v) who continue to play as the Georgia Satellites, whilst Mauro Magellan featured on drums.

Quite openly and proudly influenced mainly by the Faces it’s a similar sort of tight but loose, straight-up good time rock album from the Satellites second time round, and this is in evidence immediately as title track Open All Night kicks in. Sung with an almost tired drawl there are also elements of Lynyrd Skynyrd in the delivery although thinking back they probably appealed to me due to a similarity to our own boogie-rock veterans (even back then!) Status Quo. Track two, Sheila is pretty much just more of the same. Easily classified as “in-your-face, heavy rock ‘n’ roll”.

A cover of the old Jerry Lee Lewis track Whole Lotta Shakin’ perhaps hints at a lack of good original material available for this release but its a decent enough romp without adding much to the original. It’s also a track that Quo used to play part of in their encore medley back then so once again that link is relevant. Also notable for the first time on the album is the contribution on piano (or ‘pianner’ as it’s credited) of former Faces man Ian McLagan. Following Shakin’ is the best track so far, Cool Inside. A real American feel to this one that somehow translates the feel of a oppressive heat into about three minutes of classy guitar rock that reminds the listener of early ZZ Top at times. A superb number in my book and a track to pick out just to remind you of what the Georgia Satellites were capable of on occasion.

McLagan returns to the piano for the next track and really, it’s quite a surprise selection. In the realms of Beatles cover versions a Ringo Starr solo composition may not top many lists. Indeed the fact it was his debut solo composition makes it more surprising but here the Satellites pull off a fine version of Don’t Pass Me By. Maintaining a little of the country style of the ‘White Album’ original it’s rocked up to a point where it achieves the rare feat of at least matching a Beatles original. In fact to my mind, thanks to the heavier feel and better vocals it actually improves on the original. Another decent Faces styled boogie-rocker My Baby completes the first side of the album, a side that’s delivered little originality but plenty of good ol’ rock ‘n’ roll!

The beginning of side two opener Mon Cheri is so reminiscent of the Faces that, if listening on the radio, it’s only when the American drawl of the vocals kicks would it become clear it’s not them. A great mid-tempo rocker with some not-so-subtle French lyrics on occasion it just does exactly what it sets out to do. In fact even the sleevenotes thank ‘Those ol’ smilin’ Faces’ for support and inspiration.

The heavier guitar riff introducing Down And Down is a little more reminiscent of the late 80s rock scene and a more direct approach is taken for this song. Not the best track by some way but still reasonably entertaining all the same with a solo that again touches southern rock, fortunately the band return to the standard template for rollicking Dunk ‘N’ Dine. Baby’s So Fine has a vague hint of filler about it to me although does also remind me of some early Kiss rockers from those first few albums. It also boasts a decent, if short solo so perhaps filler is too harsh on this occasion and the phrase ‘throwaway rock ‘n’ roll’ more appropriate?

Finally Ian McLagan return for the third time to add piano to the only Rick Richards composition on the album, the superb slower closing number Hand To Mouth. A great guitar tone and a raw vocal it offers something a little different to the rest of the album and pushes Cool Inside closest as the albums best song. Wherever it ranks against the albums other tracks however, it is a fine ending.

Summary : Effectively, what must have been a great bar band got in the right place at the right time to briefly secure a major label career that saw them get enough attention to still be a draw today even without mainman Dan Baird. An album with little pretension its just 11 tracks of well played rock ‘n’ roll that despite being clearly Faces influenced draws a style that goes all the way back to Chuck Berry. In fact it’s unsurprising both are named on the sleevenotes. File alongside the likes of the Faces (of course), Status Quo and pre-Eliminator ZZ Top as another fine example of no nonsense guitar rock.

If You Listen To One Track Listen To : Cool Inside

Score : 3/5