John Walsh & The Sinkholes – Antimatter Eisenhower
The booklet inside John Walsh & the Sinkholes’ debut CD includes several images of ol’ Ike, particularly Eisenhower silver dollar coins. This graphic motif suggests the album contains political diatribes that critique capitalism and the uptight values of 1950s America. Instead, it’s a tuneful collection of tales about guys who abuse substances, try to make their relationships work, and look for a sense of direction in life.
The opening cut, “I Got You”, is a dose of infectious power-pop brilliance. After some verse-chorus-verse action, Walsh sings “You’re messin’ my mind up, messin’ my mind up” repeatedly, building tension that explodes into a sharp, clean guitar solo. With its straightforward lyrics and “ooo-ooo” backing vocals, “I Got You” is the kind of scream-along song you’d want on the radio as you drove across the Midwest in a convertible with the top down.
Like the V-Roys, the Sinkholes spice up their British Invasion-influenced rock with some hearty twang. A handful of songs feature the excellent pedal steel playing of Dennis Scoville, a member of John Strohm’s band Hello Strangers. The standout track “Worst Goddamn Enemy” is the story of a hard-luck loser who contemplates skipping town on his unfaithful wife. The lyrics are depressing, but the bouncing bass lines of Pete Wehner, along with Scoville’s sweet steel flourishes, distract you from the storyline. This same incongruity between dark lyrics and a catchy melody is what makes “Sunday Afternoon” so interesting.
All 13 tracks were written by Walsh, who clearly understands the importance of a strong hook. And this album is chock-full of ’em. Sympathetic co-producers Strohm and Mark Maher have crafted a sound that is crisp yet warm. The alternating midtempo rockers and bitter ballads keep the album moving along at a nice pace. By the time you reach the closing cut “Cracking” — a poignant acoustic number with subtle mandolin riffs — you’ll probably hit the repeat button on your CD player.
Walsh is good singer, but at times his vocals get overly enthusiastic for a studio setting. And a couple of tracks are weaker than the bulk of the album, though there aren’t any true clunkers. These minor quibbles are more than counterbalanced by the strong, memorable melodies. What any of this has to do with Eisenhower is completely beyond me.