The first thing you notice when the members of Locksley perform on stage are the clothes. From the shine of their shoes to the buttoned collars of their shirts and ties, the Brooklyn-based quartet present themselves with a well coordinated wardrobe. Yet despite this attention-grabbing penchant for matching attire, it’s the far more untailored, energetic channeling of ‘60s British pop that is perhaps the most identifiable thing about them. Effectively mixing the sing-a-long likeability of the early Beatles with a blitzing garage rock mentality, Locksley—with their self-released debut, Don’t Make Me Wait—return to the generational spirit and sound of something fun. Turning their backs on pretentious lyrical commentary and overly ambitious arrangements, Jesse Laz (vocals/guitar), Kai Kennedy (lead guitar/vocals), Aaron Collins (bass, vocals), and Sam Bair (drums) simply give listeners something to move and dance to, fully content with the brief, entertaining distraction they provide.
Embracing early rock n’ roll’s originators with the blatancy of a neon sign, Don’t Make Me Wait establishes a mission statement with its title track. With a drum stick count-off alluding to a budgeted, single-take session, the song rides on the immediate momentum of a jabbing rhythm guitar. While hand-holding phrases such as “darling” and “baby” certainly make their prevalent appearances throughout, it’s the stutter-step hook in the boys’ vocal chorus that provides the band’s best defense against any naysayers of their songwriting vocabulary. On the standout track “All Over Again,” much of the same can be said in regards to the lively back-and-forth reciting of lines that takes place between the group’s lead vocalists. By the song’s finish, as its guitar solo links to a thumping crescendo of lyrical echoes, and amidst all the feel-good fuzz and distortion, it’s not about what is said, but how its said it that makes Locksley’s words musical.
Throughout much of Don’t Make Me Wait there is a great twinge of urgency. Despite the fact that none of Locksley’s thirteen songs clock over the four minute mark, oddly enough it’s the group’s shortest song that provides the album’s biggest wallop. Splicing precious seconds with rabble-rousing growls, handclaps, and a Chuck Berry solo dash, “She Does” makes good with what time it’s given, conveying the rush of the girl you can’t, nor want to get away from.
Even with the energy that Locksley is able to provide throughout the duration of Don’t Make Me Wait, the complete body of work is still very much a studio album. Despite being a friendly shove in the right direction it still doesn’t come close to the blistering live performances that have earned the band their following. To some extent this may be a reason why the cover art of Don’t Make Me Wait isn’t some abstract artistic rendering or some posed portrait. It’s a blurred black and white photograph taken during a show, catching the audience as they jump and dance. Just a glimpse of Locksley can be caught in the back, like they’re the house band for some great party.
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