| Cavern, even more so than the great Merseybeat, is toppermost of the poppermost. |
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Frank Lee Sprague
Cavern
Wichita Falls (2005)
The ever-prolific Frank Lee Sprague knows a thing or two about delivering the goods, which he does like nobody's business on this energetic, pulsating, beatrific sequel to 2004's superb Merseybeat. And that's saying something.
As he did on Merseybeat, Sprague kicks up the dust as if he and his clones (he plays all instruments except drums) were playing a lunchtime session at the original Cavern. You can practically feel the sweat drip from the walls.
Sprague ups the ante here with a baker's dozen songs that are even better than those on Merseybeat, and those songs were pretty damn good. From the rockin' "She's a Bad Memory," complete with shrieking, in-the-moment screams, a boss guitar solo, and a few strategically-placed whoos and heys, to the latin-by-way-of-Liverpool, made-for-Macca ballad "I Believe," the ghosts of the groups that populated the pages of Bill Harry's Merseybeat come alive.
Highlights abound, but like revealing the end of a cracking mystery novel, I don't want to spoil any surprises. Nevertheless, "I Don't Want What You Don't Got" and "I Don't Love Her Anymore" are the hits that could have been made by just about any good Liverpool band. They synthesize all of the elements that made Merseybeat great, and that's no mean feat. (Dig Sprague's driving, bonus take on Eddie Shuler's powerful "Sugar Bee," brilliantly transplanted and transformed from its cajun roots and original waxing by Cleveland Crochet and the Sugar Bees to the Merseybeat style.)
With attention paid to the tiniest details, Sprague again recreates one of the most vibrant, exciting periods in rock 'n' roll as if he were actually in the Cavern (which he name checks throughout these great songs), playing to kids packed like sardines against the walls, seemingly oblivious to the rather dank surroundings but ready for a rockin' good time. Which is what makes listening to this album such an immense pleasure.
Alan Haber
January 8, 2006
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