An album surrounded by tragedy, The Deluxtone Rockets' Green Room Blues, in name and situation, stands as a monument to an unfortunate bygone year of great losses in the Christian music community. You see, production was begun by Social Distortion's Dennis Danell and the Lost Dogs and Adam Again's Gene Eugene. Danell passed on, and Eugene took the project almost to completion before passing away himself. The bright aspect of this album's history is that it shines on all levels of production, song-writing, and performance.
Production-wise, there is surely not coincidentally a sonic air similar to the Lost Dogs' Gift Horse, which is a very good thing. And as for the band's contribution -- it's really quite staggering how much they grew musically between their debut and this record. These songs have grit, attitude, unique character, and a very believable rock 'n' roll richness. Whereas before they were easily dismissed as some kind of contorted fusion of the swing fad and the rockabilly genre -- a one-dimensional 'Christian version' of Reverend Horton Heat and the like -- The Deluxtone Rockets now come across as confident and comfortable in their own musical idea. They tap into the grimness of Johnny Cash, the energy of Elvis Presley, the swagger of the Ramones, the bravado of John Wayne, and the sensitivity of Keith Green. They pay homage to a time when rock 'n' roll was ironically innocent and vilified concurrently. And they bay at the moon while discussing the Son. I really cannot say enough about the contrast in depth and maturity between their releases, and about their newfound balance in presentation -- they ROCK when it's time to roll, and croon when it's time to crow. It is seriously like comparing Britney Spears to Pedro the Lion. What a pleasant Phoenix.
Other coverage for this album
The Phantom Tollbooth 2001Reviewed by Michial FarmerWith the swing fad thankfully over and their horn section gone for good, Green Room Blues finds The Deluxtone Rockets pursuing a more rockabilly-oriented direction. Several tracks bring to mind Wreck Your Life-era Old 97s, while others recall nothing so much as Johnny Cash-lite. Only the closer, "Judgment Day," recalls the swing Rockets of old, and even it, with the absence of horns, doesn't…The Phantom Tollbooth 2001Reviewed by Eric DaamsThe Deluxtone Rockets have returned two years after their energetic, self titled party album which, to me, was one of the major highlights of the swing/ska revival. They've returned, but not the same. They've gone from six-piece to four piece, having abandoned their three piece horn section completely. Two new members, Rodney (from the Calicoes) on drums and Lonnie with the fretboard, join lead…The Phantom Tollbooth 2001Reviewed by Chelsea LewisThe Deluxtone Rockets have adopted a new sound on Green Room Blues, with more rockabilly and less swing. With no horn section, the band sounds different and their lyrics have taken a great leap from their debut. In addition to a new sound, the band has two new members and although they are still called the Deluxtone Rockets, they seem to be a new group. Overall, the songs are enjoyable, but…The Phantom Tollbooth 2001Reviewed by Steven S. BaldwinSans horns, the Rockets boldly revamp their previous sound, pushing further into rowdy rockabilly territory and away from swing. The new songs retain the signature bass, guitar, and drum core, yet expand their sound with unexpected but pleasant piano flourishes, among other surprise passementerie. Under the tutelage of the late, great Gene Eugene (Producer Extraordinaire), the Rockets have…Similar sounding releases
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