Featuring Stephen Stills, guitarist of Buffalo Springfield and Crosby, Stills and Nash, six string hero Kenny Wayne Shepherd and Electric Flag pianist Barry Goldberg, the Rides deliver an enjoyably unoriginal collection of blues, folk and rock that serves as a love letter to the sounds of '60s and '70s America. Although this multi-generational supergroup don't forge a distinct sound of their own, some tasty musicianship and spirited performances bolster a debut album that's best described as a flawed success.
'Can't Get Enough' was recorded in just over a week, with each tune nailed in a maximum of three takes to allow producer Jerry Harrison to capture the group's on-the-spot energy. The playing has a spontaneous snap throughout, giving the material an infectious glow that's similar to watching a fizzing live band in full flight. Opener Roadhouse epitomises this, with its sharp beat and rolling rhythms, as Stills growls about the tribulations of a travelling musician.
The zesty grooves continue as Kenny Wayne belts out a stirring rock 'n' soul vocal on That's A Pretty Good Love. Cool piano chords from Goldberg add a '60s James Bond vibe, while a slinky firecracker solo from Shepherd rounds it off nicely.
The quieter numbers are equally stirring, with Don't Want Lies and Only Teardrops Fall reminiscent of Stills' work with messrsCrosby and Nash. The former is delicate, chiming folk rock with tender female backing vocals embellishing a beautifully understated chorus. The bluesy recollections of the latter find Stills serenaded by more luscious vocals before smooth guitar harmonies from the master and his apprentice make the spine tingle.
Vocally speaking, Stills is better on the slower numbers these days. He just about gets away with singing rock songs, but on the rousing title track he struggles during the chorus. Shepherd's voice, on the other hand, is a pleasant surprise. Considering he only stepped up to the mic recently, his tone is powerful, clear and confident and if he'd sung more of the material here it would have helped the band establish a stronger character of its own.
Unfortunately, too many generic cover songs detract from the album's overall flow and tone. Pumped up versions of Muddy Waters' Honey Bee and Elmore James' Talk To Me Baby would be great in a live setting, as Goldberg's magic ivory tinkling and Shepherd's explosive July 4 firework attack are exceptional. On record, though, they feel like a backward step compared with the the Rides' more interesting original material.
There are also two dodgy covers. Shepherd channels his inner punk on Iggy And The Stooges' feisty Search And Destroy, but the outcome is too slick and lacks the 'raw power' of the original. Furthermore, a perfunctory bar band rendition of Neil Young's Rockin' In The Free World drains away the original's apocalyptic snarl to create a hollow stadium rock anthem. Shepherd's hideous scream towards the end is the albums nadir.
Ironically, closing track Word Games - an old Stills song from the '60s given a charged makeover - is bolstered by the vitriolic drive Rockin' In The Free World needed. Its stream of consciousness lyrics see Stills venting in glorious fashion as he barks, “people see somebody different, fear is the first reaction shown”.
The Rides are already preparing to record their second album and if they maximise the winning elements of 'Can't Get Enough' it could be something special. The chemistry is palpable and the original numbers are easily the strongest aspect of this album. It's mouth-watering to imagine where that could lead if given time to develop.
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