Guardian

Item: Swing Swang Swung
Author: Brent Hershey

Swing Swang Swung

(1994)

Reviewed by Brent Hershey

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Label Pakaderm Records / MyrrhHeaven's Metal #50November/December 1994

acoustic rock blues rock classic rock southern rock

Guardian is a band that has all the elements. Let us count the ways: (1)a great hard rock/metal voice in 80-grit Jamie Rowe; (2) a spectacular and diverse guitar hero in Tony Palacios; (3) a powerful-yet tasteful rhythm section of bassist David Bach and drummer Karl Ney that ensure Guardian of its world-class performance status - a rock/metal hybrid without holes; (4) and a caring, altogether non-rock star attitude that translates into relevant and poignant songs. All of this in an industry that historically does not understand, accept or know how to promote heavy rock.

With Miracle Mile, it all came together -- great songs, a standout performance of hard-driving, catchy and sensitive hard rock. The band cashed in on the overdue respect it had earned over the years with charting singles, year-end awards and overall acceptance in their new home and the center of the industry in Nashville, TN.

All of this makes their new record, Swing Swang Swung, seem so frustrating; it's departure with a capital D. Heavy roots and acoustic overtones give the album an early '70s acoustic rock feel that is a major change from '90s hard rock of Miracle Mile. Initially, the whole band seems to be on a short leash -- Palacios gets a few bluesy solos in, but the songs don't lend themselves to the explosive leads he's known for. On some tracks ("Endless Summer"), Rowe pulls off the different vocal style with ease; on others, you find yourself yearning for his vocal command of the previous release. A few of the acoustic ballads ("Like the Sun," "Your Love") are indeed splendid, but their impact would seem much more effective on Miracle Mile, rather than taming the already tame Swing Swang Swung. To someone with a Guardian past, it takes some getting used to.

The cuts that the band plugs in are reminiscent of classic-rock radio(at times with a southern-rock twist) that undermines the rural feel of the album. Upon additional listenings, the riffs and melodies may be as strong as "Miracle Mile's," only the surroundings are a bit different. Well okay -- the surroundings are worlds apart. Rather than streetwise flash, this album has a dirt-road sensibility. "Way Home Back" leads off the album with front-porch blues; "Preacher and the Bear" is a cover of a humorous Dixieland jazz standard, and "Endless Summer" and "Don't Say That It's Over" are catchy rockers, but seem in search of a knockout punch. But "Rich Man Over the Line" suffers from a syrupy pop aftertaste, and "C'mon Everyone" stoops to a silly guitar solo/crowd "oohhs" call-and-response.

The lyrics, for the most part, are positive and personal without being sugar-coated - this is one part of the band that hasn't changed. They identify society's trapping, encourage listeners to act on their faith, and are not afraid to write both simple praise songs and earthly love songs.

In the light of Miracle Mile, many may find Swing Swang Swung disappointing. But given the chance, this record is one that with each listen could surmount expectations of the past. The question is how much of a chance they get.