Diminutive rocker Chris Perricelli (5 foot 2—shades of Paul Kossoff!) is being lauded for his deep affinities with glam and pop era virtues, and the press has it right this time. T.Rex, the Kinks, Bowie, and a number of the giants of the time come roaring out in his compositions right up to the symphonic pop of Don't Pray to Fantasy with its infectious repeating keyline and Tony Visconti-styled production. Minnesota's Twin Cities area has taken to the band fiercely, and it's not difficult to see why. Add in the Sweet, the Raspberries, shades of the Beatles' psyche period, and a number of others and you won't be mistaken, but Perricelli's Bolan-esque vocals and style are what most inform the group's sound in a direction not easy to find nowadays.
Back in the day, acts like Jobriath attempted this kind of revivalism but failed miserably; Perricelli has it down pat. I would, however, suggest he tip in more of his guitar in leads and small solos rather than the metallic rhythm duties it mainly performs. He finds the right frame and cadence, there just needs to be more, allowing the instrument to offset the dominant vocals. As well, a new engineer wouldn't hurt either, as the songs are dying to expand in the sonic field, suffering a trifle in muddiness. A 15% increase in balance and clarity would bring a 200% return. Even the mellow cuts like Did You Know need more breathing space and contrast, delicacy, definition. It's not that it isn't there, the engineer just didn't work with it properly. An overseer like Bob Ezrin would've made the cut sing with spaces and perfect tonicities (and, man, had Little Man been able to land him…yow!)…and I say all this because the songs deserve the treatments I'm suggesting. The cake just needs a bit more frosting. This guy Perricelli has what it takes and could singlehandedly do what many have failed at should he get exactly the right production and technical work.
Edited by: David N. Pyles
Copyright 2009, Peterborough Folk Music Society.
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