Echo Scale: ★★★ (3)
Anth Purdy’s ‘Furious’ (Released 2023)
Anth Purdy, a solo act since 2012, has carved out a unique niche by channeling the golden age of guitar — think Les Paul’s dazzling 1940s and 50s showmanship — and injecting it with a modern kick. His self-professed mission? Blending old and new with catchy hooks and melodies, crafting a “complete package” that’s primed for screens, stages, and, well, your eager ears. His latest offering, Furious, promises a deep dive into this vintage-meets-vibrant world. And it delivers… mostly.
The album kicks off with the title track, “Furious,” a swingy, bluesy, uptempo slice of fun. It undeniably sets the tone, a high-octane opener that showcases Purdy’s authentic 50s-era guitar work. Yet, a perplexing question immediately arises: Why do the guitars, clearly meant to be the star, sound so… soupy? While the drums and bass are pristine, the guitar tone here, and throughout the album, is bafflingly muddy. It’s like listening to a vintage supercar through a wet blanket.
This recording enigma persists with “Hammer of the Gods.” Purdy truly understands the nuances of 50s/60s guitar playing; this isn’t sterile, “inspired by” drivel. You hear techniques long forgotten by modern players, which is genuinely cool. But again, the contrast is stark: studio-quality rhythm section, dictaphone-through-three-pillows lead guitar. It’s an artistic choice that defies logic, actively hindering the brilliance on display.
“Black Dahlia” is a standout, effortlessly blending blues, surf rock, and old-school rock ‘n’ roll. There’s a distinct Batman Theme vibe — perhaps it’s just me, but once you hear it, you can’t unhear it. This track, in particular, feels like it would have been mind-blowing back in the day, a truly cool and era-authentic piece. It’s a testament to Purdy’s understanding of the genre.
Live, Anth Purdy’s show sounds like a guaranteed good time. “The Crazy 88” is pure foot-tapping joy, probably the album’s highlight for sheer fun factor. If you’re looking to dance, this track suggests Purdy’s gig is the hottest ticket in town.
However, the momentum dips with “The Mojave Connection.” A few timing wobbles aside, the track reveals a slightly limited lick arsenal. While the electric guitar was new in the 50s, a few more than half a dozen licks would be welcome, especially when three of them lean into the Batman motif. It’s a minor stumble after such a high.
Thankfully, “The Cat’s Gone Crazy” gets things back on track. It’s got a cool, slightly surfy vibe, with great use of the trem arm. There’s a definite Rock Lobster influence, showcasing impressive, era-accurate technicality and much-needed progression.
“Nightwalk” is a delightful departure. Slower and dreamier, it conjures images of wholesome first dates, milkshake shops, and chaste goodnight kisses between American teenagers named, perhaps, Cindy and Chuck. It’s a good song, nicely executed, a sweet interlude in the album’s otherwise high-octane journey.
Then comes “65 Boogie,” an infectious, dancey blast that grabs hold and doesn’t let go. This is one of the album’s strongest tracks, begging for motorcycles, brylcreem, and copious hair-combing. Purdy’s technical prowess truly shines here, perhaps more than anywhere else on Furious.
“The V” offers a surprising, albeit brief, moment of 80s-esque tapping. It’s an unexpected stylistic detour that prompts a raised eyebrow and a chuckle.
By “Step Into The Light,” one might ponder if an instrumental guitar album based on an instrument still finding its footing in the 50s might be stretching a little long. But this track serves as a fascinating lineage for metalheads; listen closely, and you can hear the very roots of modern heavy music. It’s a compelling peek into rock’s evolution.
Alas, the Batman theme makes another appearance on “Spectre.” While charming initially, its repeated presence starts to feel less like a signature and more like a crutch.
“The Spy of Marrakech” brings us back to authenticity. The guitar tone is absolutely nailed (though still recorded on a potato, apparently), exuding coolness, groove, and drive without becoming saccharine. It’s well-crafted and paced, everything you want from this kind of track.
Despite a major timing issue early on, “Surf’s Up” is genuinely cool. It’s authentically surf, with captivating guitar work that keeps you guessing. It’s a clever fusion of old and new influences, showing Purdy’s ability to evolve within his chosen style.
“Welcome to the Thunderdome” promises big things with its title, but it doesn’t quite deliver the epic scale one might expect. While Purdy’s ability is undeniable, the track lacks that defining hook, that chest-thumping moment.
The album closes perfectly with “When The Lights Go Down.” A slow burner featuring delightful barbershop quartet-esque bass runs, it throws in some 80s shred for good measure. It’s a bop, a fantastic closer, and certainly one to witness live. A well-deserved congratulations to Anth!
As for the enigmatic “Outro,” it seems to be a reference that, well, goes over this reviewer’s head.
In conclusion, Furious is a challenging album to review. Anth Purdy is undeniably an experienced and highly talented musician, capable of writing truly authentic and engaging music rooted in the 40s/50s. His technical skill and understanding of the era are beyond reproach. However, the perplexing choice in guitar recording is a significant hurdle. At times, it actively makes you want to hit stop, not because of the performance, but because the sound quality simply doesn’t do justice to the brilliant musicianship. It’s a missed opportunity for what could have been a truly stellar retro-futuristic journey.
