Another Clinic in Searing Lead Guitar and a Williamsburg Show From the Great Eric Ambel
Eric Ambel is an artist who ought to be playing record stores – because he makes vinyl records. Spectacularly good ones. His most recent studio album, Lakeside, sent a ferocious, guitar-fueled shout out to his beloved East Village club, Lakeside Lounge, forced out of business in 2014 in a blitzkrieg of gentrification. His latest record, Roscoe Live, Vol. 1 – streaming at Bandcamp – captures him in his element, onstage at a summer festival in upstate New York in 2016. The backing band is obviously psyched for this gig: alongside Ambel, there’s Spanking Charlene’s Mo Goldner on rhythm guitar, Ambel’s old Yayhoos bandmate Keith Christopher on bass and Phil Cimino on drums. Ambel’s playing an unlikely early weekday show tomorrow, Feb 6 at 8:30 PM at Rough Trade; cover is $10.
Ambel has a vast bag of hot licks, but most of them are his own. If you asked him to play like Neil Young, or Buck Owens, or Ron Asheton, or David Rawlings, he would, but he’d rather be himself. And although he’s a connoisseur of every possible sound you can get out of a guitar amp, he’s got a noisy side too. There’s pretty much all of that on the live record.
Just the way that he edges his way into the set’s opening number, jabbing around the harmonies of the first chord of the brisk shuffle Girl That I Ain’t Got is typical. As are the nasty, string-stretching first solo and a tantalizingly slashing second one. Here Come My Love, by his Del-Lords bandmate Scott Kempner, comes across as an amped up Jimmy Reed number. The blend of the two guitars is especially tasty; Ambel’s solo out is unexpectedly carefree and chill.
Hey Mr. DJ, a sarcastic dig at the kind of clown who’d pay a cover charge to hear some other clown plug his phone into the PA, is a co-write with the Squirrel Nut Zippers’ Jimbo Mathus and one of several tracks from the Lakeside album. Over the slow, slinky beat and a buzzsaw backdrop, Ambel turns the sarcasm loose: “Crank the drums, crank the bass, crank that shit all over the place.”
The slow waves of the warped blues Don’t Make Me Break You Down keep the smokering intenstiy going, through lingering phrases that Ambel takes into the grimy depths, then up again.
“Just to show you I’m not anti-cisco, I have a disco song,” Ambel tells the crowd, then launches in to the strutting Have Mercy, which is actually more of a simmering take on vampy early 70s psychedelic soul.
The band follow Let’s Play With Fire, a shuffling mashup of honkytonk and Lynchian Nahville pop with a slowly crescendoing take of the David Rawlings/Gillian Welch hit Look at Miss Ohio, a staple of Ambel’s live show back in Lakeside’s glory days in the 90s and zeros.
Massive Confusion, the loudest track on the Lakeside recod, is a more swinging take on a familiar Ramones formula. Ambel then closes the show with two of his best songs. Buyback Blues, the centerpiece of the Lakeside record, is a slow, evil rollercoaster in a Cortez the Killer vein. The night’s last number is Total Destruction to Your Mind, the Stonesy Swamp Dogg cover that was Ambel’s signature song as a solo artist for years. For anybody who got to hear Ambel blast his way through this one back in the Lakeside days, Christopher making his way up the fretboard as the chorus kicks in, it’s a real shot of adrenaline. How long do we have to wait until the real estate bubble finally bursts so somebody can open up a place like Lakeside, with cheap beer and great bands every night? The closest thing we have to that in New York these days, Barbes, won’t last forever,