The Snakes

The Snakes

The Snakes


Well, the scene is set serenely enough at the onset. “Hourly Nightly” begins a two-minute turn back to the psychedelia and a future Pink Floyd where all is dreamy; a mellowing phase that segues into the likes of “Run Cherry Run” and “Little Deaths,” two hip-shaking, toe tapping tambourine songs from the days of The Troggs, The Turtles and those of the generally more wholesome community. “Scene From a Cadillac” will appeal to the more voracious appetite of the “then” rocker aiming for a step out from the crowd; the head bob accompanies the hip shake with a R&B gone punk insurgency, nearly diesel if not for the odd David Bowie byway of one Lenny Pops, guitarist, singer, and undoubted veteran of the tie-die variety. Where the many pre-punkers that came of age in the early seventies are well worn and widely embraced by the underground, there are those fall betweens of a retro/stoner/blues embodiment which The Snakes seem to fit comfortably within-usually safe, occasionally gritty, and generally well set and easy to catch. On one hand there’s the bell bottom curve of strobe-era Rolling Stones on and again to go with a perceptively Dylanesque tone, and Pops, the generally reserved singer, doing well to capture both Iggy Pop and Bowie, surprisingly so on the tender gone tenacious rocker, “Jesus’s Son,” which is definitely among the best of the bunch and a brotherly equivalent to the forgotten Urge Overkill-ers. Overall, we can sum up The Snakes (as sneaky, including a clever “sleeper” track for number eleven that goes heavy on the psych-fx for a soothing yet strong closer that I would’ve missed another second or two later) to owning a vivid preference for image over words (see inlay), a slightly less glitzy Black Crowes like style, capturing the essence of the blues, folk, and R&B, bore of a daisy-faced era, catchy and precursory to the rougher edged four on the floor blow out that saw the sun set on the chill out soon after.

Bomp Records:

Leave a Comment

Your email address will not be published. Required fields are marked with *

Cancel reply

Recently on Ink 19...

  • Violinist Gregory Harrington
    Violinist Gregory Harrington

    Renowned violinist Gregory Harrington unveils how he chose elegant covers on his new album Without You.

  • Sparks

    A Steady Drip, Drip, Drip (BMG). Review by Generoso Fierro.

  • Lucifer Star Machine
    Lucifer Star Machine

    Devil’s Breath (Sign Records). Review by Carl F. Gauze.

  • Let My Daughter Go
    Let My Daughter Go

    The latest from Creston Mapes, “Let My Daughter Go” delivers everything his dedicated disciples have come to expect – inspiring heroes and despicable villains, along with plenty of action and non-stop tension.

  • Iron City Houserockers
    Iron City Houserockers

    Have a Good Time, But Get Out Alive (Cleveland International). Review by Bob Pomeroy.

  • Carleen Williams
    Carleen Williams

    “Home Stretch”. Review by Stacey Zering.

  • Dennis and Lois
    Dennis and Lois

    Music superfans Lois and Dennis have been attending concerts and befriending musicians since the ’70s. The couple shares their obsessive music fandom with the rest of the world in this quirky, charming documentary.

  • COVID Diary #3
    COVID Diary #3

    Forced isolation, too much coffee and a stack of records result in a batch of attention deficit record reviews.

  • Beach Slang
    Beach Slang

    The Deadbeat Bang of Heartbreak City (Bridge Nine Records). Review by Carl F. Gauze.

  • Monks Road Social
    Monks Road Social

    Humanism (Monk’s Road Records). Review by Bob Pomeroy.

From the Archives