The power trio is not a term to be used lightly -- for every Blue Cheer there's a Blink-182 -- but when it's applied to the electrifying cacophony emitted by the Muggs, it's almost not enough. The Detroit-based threesome is a power trio the way that Led Zeppelin or Black Sabbath were -- Robert Plant and Ozzy are cultural icons, but it's what went on behind them that launched a million rock bands. The Muggs guitarist Danny Methric's solos transcend the blues that spawned them by sneaking out of their major and minor trajectories without a care in the world, while drummer Matt Rost and bass player Tony DeNardo -- the latter switched to the lower register on a Fender Rhodes after suffering a hemorrhagic stroke in 2001 that left his right side paralyzed -- sound as if they're joined at the shoulders. This is stadium rock trapped in a club and looking for a way out with every intention of burning the roof down -- not in a Great White kind of way -- that brings to mind '70s classic rock like AC/DC, Humble Pie, and Mountain. What sets the Muggs apart from questionable blues-rock revivalists like the Kings Of Leon is their complete lack of pretense. Perfectly rendered guitar rock is at its essence the simple practice of fusing together a bass and guitar lead that jumps into the pit of your stomach and stays there, something the Muggs have obviously mastered on standout cuts like "Need Ya Baby," "Monster," "Gonna Need My Help" & "Doc Mode" but they're not above taking the listener through a space rock mid-section that owes more to Piper At The Gates Of Dawn-era Pink Floyd than it does Ten Years After. It's that perfectly balanced allegiance to both discipline -- these gentlemen are obviously no strangers to the rehearsal room -- and balls-out rock & roll hedonism that makes this self-titled debut, when inserted into the medium of your choice, turn up all by itself.
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Bill Heid, Heid, Heid, the blues all change from day to day
Bill Heid, Heid, Heid, those long hairs just don't make the grade
We revved it up, and knocked it down, 'til the groove was black and blue Now they'll have to live with the mess
Cause there ain't nothin' wrong with those white boy blues
I get by, by, by, I keep on movin' every day
I get by, by, by, I got them blues in every way
Walked the walk, and talked the talk, 'til there's nothin' left to say
Keep on fightin', nothin' left to lose
Cause there ain't nothin' wrong with those white boy blues
Bill Heid, Heid, Heid, the blues all change from day to day
Bill Heid, Heid, Heid, those long hairs just don't make the grade
Walked the walk, and talked the talk, 'til there's nothin' left to say
Keep on fightin', nothin' left to lose
Cause there ain't nothing wrong with those white boy blues
supported by 10 fans who also own “White Boy Blues”
This album rips off such heavy riffs hard from start to finish. I love the bluesy swing with the vocals, the screaming guitar, thundering bass and delirious, vital, pounding and crashing drums. Every track is great. frogczar
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