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Back Door Men

The Shadows of Knight

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Crítica do álbum

The original LP version of this album, the second by the legendary white Chicago garage punk/blues outfit, was one of the most sought-after artifacts of mid-'60s punk rock. Back Door Men was a loud, feedback-laden, sneering piece of rock & roll defiance, mixing raunchy anthems to teenage lust ("Gospel Zone," "Bad Little Woman"), covers of Chicago blues classics (Willie Dixon's "Spoonful," Jimmy Reed's "Peepin' and Hidin'"), raga rock ("The Behemoth"), folk-rock ("Hey Joe," "Three for Love," "I'll Make You Sorry"), and a blues-punk grab off of commercial Top 40 ("Tomorrow's Gonna Be Another Day") all on one 12" platter. What makes the record even more startling is that every one of these tracks, however far afield they go from one another, works. The band strides across the music spectrum with a reach and boldness that most listeners usually only associate with the likes of the Beatles or the Rolling Stones, and a grasp that, for a moment here, may have exceeded either of those groups, as they slide from electric guitar into extended Chess-style blues instrumentals ("New York Bullseye").

Biografia

Formado: 1964 em Chicago, IL

Género: Rock

Anos em actividade: '60s, '70s, '90s, '00s

Chicago, Illinois had one of the liveliest garage rock scenes around in the early to mid-'60s, and the Shadows of Knight were at once one of the most popular and among the toughest acts on the Windy City's teen scene; they were also one of the few who achieved genuine stardom nationwide. One of the members of the group was once quoted as saying, "the Stones, Animals and Yardbirds took the Chicago blues and gave it an English interpretation. We've taken the English version of the blues and re-added...
Biografia completa
Back Door Men, The Shadows of Knight
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