Review: “Desertland” by Johnny Hart and the Mess
Still riding off the high of their magnificent sophomore release, Johnny Hart and the Mess is a well-known group in the Buffalo music scene. While the roots of their music lie in American rock, they have a style all their own that incorporates a multitude of diverse subgenres.
The writing and arrangement on this album are impressive in their variety. They’re able to transition from Zeppelin-infused rock, to creamy Santana Dorian solo sections, to Allman Brothers slide rock, to stoner-rock riffage, to advanced blues and roots rock on a whim.
Throughout its tracklist, “Desertland” sonically emulates the possibilities that lie beyond the endless horizon of the desert and, in the process, expresses a wide survey of American rock.
Many local bands stagnate when they favor expedient musical creation over the quality of their craft, but Johnny Hart and the Mess is not just another band. You can hear the sweat, the long practice sessions, and the love of rock music pouring from every band member on each performance.
Johnny (on lead vocals) performs a balancing act between the dynamic range and ability of 70’s wailers like Robert Plant and the true American grit and tonal quality of singers like Dusty Hill and Ronnie Van Zant. He is able to maintain this dichotomy without making sacrifices to the core value of either characteristic and provides a driving force behind the group’s style and attitude.
Tyler Wright (on guitar) speaks through his instrument. It is an extension of himself. His play style flows from a place of love for his art and a passion for challenging the constraints of typical guitar phrasing and melodic choice found in their pocket of rock music. All throughout this record, his ability to ingest the tonal qualities of classic American guitarists and regurgitate them in new ways is remarkable.
Tyler is always able to find common ground between the wonderful, creamy slide work of The Allman Brothers, while maintaining the badass textures created by players like Joe Walsh and Billy Gibbons. His slide work is in conjunction with more standard picking styles where he incorporates unique wailing leads and gut-busting solo sections in the most kick-ass and gruesomely American way.
Although this record oozes classic rock, it does not falter at pushing into lesser-known territories with extended solo sections, dueling guitar harmonies, hemiola, sudden rhythmic alterations, key and feel switch-ups, and meter changes, among many other exciting moments. Every section of these tunes is carefully calibrated for maximum efficiency, for that crowd-head-bob-at-a-rock-show effect. These wonderful additions to the core of the group’s sound are enacted with a heavy hand by the rhythm section, James Kooken (“Kooks”) on kit and Nick Meyers on Bass.
For fans of American music, and especially fans of local music, give this record a listen. I have this CD in my car, and it’s in my serious rotation for long road trips and summer drives. I’m personally excited to see what Johnny Hart comes out with next.
