Having previously worked with ex-Peter Frampton/ J.Geils manager Dee Anthony, WATTS' frontline Dan Kopko (vocals/ guitar), John Blout (guitar/ vocals) and Craig LaPointe (bass/ vocals) are a familiar trio of faces for anyone down with the Boston and East Coast scene.
The guys hooked up with drummer John Lynch (ex-Neighborhoods and Avoid One Thing) ostensibly for a one-off party set in September 2005 and, as the old cliche goes, the rest is history as WATTS' sophomore effort - the hi-octane 'One Below The All Time Low' - arrives just on two years later. In the interim, the quartet released debut album 'Flash!' (featuring a tune with the immortal title 'Subterranean Kids on Heroin') and if 'One Below...' is any indication, then your reviewer's overworked ears are again gonna need to backtrack.
Because basically this is one of those great old-fashioned rock'n'roll albums generously stuffed with killer melodies, strategic hooks, driving guitars, pop-punk aggression and all topped-off by frontman Dan Kopko's great, drawly Stewart-meets-Strummer vocals. Save for the smouldering 'Sweet 99', the pace rarely drops and this seasoned quartet play with an intuition bordering on the supernatural throughout.
If the name WATTS might be conjuring images of either the turbulent LA ghetto or simply volume in general, then think again, though, for the Watts in question is the gentleman behind the perfect heartbeat keeping the Rolling Stones on track. And it's undeniable that Charlie and the Glimmer Twins' patented raunch permeates Watts' modus operandi at times, not least on the wonderful, sleazy swagger and Keefchording of the opening '20 To 12' and the equally blissful open-top cruise of 'Freeway'. Crucially, though, neither ever sound remotely like pastiche and are soaked in Watts' own sour mash and promptly set alight by the adrenalised rush of the band's sound.
Besides, as 'One Below...' opens out, elements of everything from the chugging, Cars-y delights of the chugging 'She's A Rock'n'Roller' through to the bitten-off Knack-style power pop of the ultra-immediate 'Wishing' and the balls-out, Replacements-style crunch of the curtain-closing 'Radio' rear their pretty punk and new wave heads. Heck, there's even one concession to (almost) power balladry on the slowburning 'Sweet 99', although this does eventually capitulate under the weight of a concerted six-string attack from John Blout towards the death.
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But really, weak links are virtually non-existent and 'One Below The All Time Low' benefits from the way the four protagonists seem to inherently understand each other's strengths. I've no idea how Watts go about writing their songs, but certainly in Dan Kopko they have a charismatic, forceful frontman, the Lynch-LaPointe rhythm section keep it tight and taut throughout (with LaPointe occasionally adding some high-end counterpoint on tunes like 'Everybody Wants You') and in John Blout they have a decisive, but always tasteful lead guitar player in the Jimmy Honeyman-Scott mould: capable of delivering quicksilver solos and inserting those all-important snaky hooks in all the right places. Put these components together and you've something utterly glorious.
'One Below The All Time Low' then, is never less than loud, proud and intelligent. It's a hugely satisfying treat for anyone still in love with classic US pop-rock and enough to quicken even the most jaded fan's pulse. Young bands please take note: THIS is still how it should be done.
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