Featuring Johnny Iguana on piano and keyboards, Zach Verdoorn on bass and guitar, Michael Caskey on drums, and Berit Ulseth on vocals, Chicago’s The Claudettes release their fifth album, The Claudettes Go Out!, October 14 on compact disc and digital through Forty Below Records. Starting out as the duo of Iguana and Caskey, The Claudettes were once described as something of a blues-punk proposition, but with an expansion of lineup comes refinement, as their latest is full-bodied smart pop enhanced with a subtle roots edge and early Alternative rock punch. And yet, much of the record has a contemporary feel.
Those who know Johnny Iguana primarily as a blues pianist having backed Junior Wells, Otis Rush, Carey Bell, Koko Taylor, etc., plus releasing his own killer album Johnny Iguana’s Chicago Spectacular! in 2020, might be a little surprised by the unabashed pop inflection of Go Out!, particularly as all ten of the album’s songs were written by Iguana (real name Brian Berkowitz).
The band is tight on Go Out!, with Iguana’s work on the keys bringing a distinctive flavor, but the record’s most immediate quality is the voice of Bert Ulseth, whose jazz vocal background (she attended the New School in NYC) and experience fronting country bands establishes her range and a rich singing style that reminds me at times of Shilpa Ray crossed with Maria McKee.
Opener “A Lovely View” is a hearty dose of melancholy yearning, the track expertly blending pop sophistication and earthy soulfulness, with the sweet structural mid-section redirect and a powerful crescendo in the back end deepening the whole. It gets Go Out! off to a strong, welcoming start, as “Park Bench” follows, picking up the pace and adding an honest to goodness string section to superb effect.
As said, the roots connection is subtly expressed on this album, but comes to the fore in “The American Sky,” courtesy of Iguana’s piano, tough but melodically sharp, and Verdoorn’s reverb-laden guitar licks. Caskey provides a sturdy foundation and Ulseth’s singing turns the track into a tidy gem. It’s in “Dozing in the Crypt” that a decided late ’80s Alt-rock feel arises, sounding specifically like an energetic young band that’s been given a sizable studio budget, except that Iguana’s piano showcase in the middle of the cut transcends the comparison.
“Times Won’t Take Our Times Away” is another up-tempo pop nugget deepened with flourishes of slide guitar and Iguana’s ever-present piano. Verdoorn’s slide, with a touch of twang, carries over into “The Waves,” a more contemplative and decidedly contemporary song, its thrust contrasting with the ’80s-tinged pop of “There’s Too Much Affection in This World,” which comes complete with an era-appropriate soaring guitar solo.
“Exposure” is easily the most ’80s-infused entry on Go Out!, sounding a bit like Every Dog Has His Day-era Let’s Active channeling the B-52’s circa Whammy! It’s an eccentric yet direct number made even more interesting in how its throwback tendencies are combined with lyrics that are at least partially about COVID. It’s followed by “Cowboy,” which keeps its country feel in check as it reaches back to ’60s pop for inspiration.
Stomping finale “The Show Must Go On (And Then the Show Must End)” is a full band showcase, with the keys rollicking, the drums galloping, the guitar rippling and wailing, and the vocals poised yet emotionally vibrant, as the whole thing gets capped off with a slick surprise ending. Altogether, The Claudettes Go Out! is deftly constructed pop elevated through inspired ensemble execution.
GRADED ON A CURVE:
A-
