The Raygun Cowboys - Self Titled

Artist: Raygun Cowboys

Album: Raygun Cowboys

Label: Stumble Records

Upon hearing the first three tracks on the Raygun Cowboys' self titled album, my first thought was "psychobilly with ska-inspired trumpets and trombones?!"  I know I'm delving head first into this review, but the first three tracks of this Edmonton, Alberta quintet's debut boast some of the freshest interpretations of the genre I've encountered in years.  The first track, "Asbestos Rock" eases the listener into this mashup by omitting vocals, allowing the instruments time to introduce themselves.  Oakland Valleau's furiously paced slapping of his upright bass brings initial comparisons to psychobilly greats like Gorilla or 80's era The Krewmen.  Meanwhile, the track introduces the horn section through several short bursts, eventually leading into a full on trumpet and trombone duet.  The second track, "Devil on My Mind," continues Valleau's frantic pace, continuing making full use of the horn section, but introduces Jon Christopherson's, slightly echoey, rockabilly vocals.  It's hard to imagine a more natural execution.  The third track, "Dead End Girl," adds a little country into the mix, with the guitaring forcing initial comparisons to creepy country crooners The Coffinshakers. 

Sadly, the next six tracks depart from originality and dive right into a slew of well executed but fairly unoriginal rockabilly tunes.  To the band's credit though, the forth track, "Devil Son," successfully transitions between the styles, making the switch into mediocre rockabilly tunes including "Light Me Up," "Come Back to Me," and the intensionally sloppy drinking anthem, "For the Whiskey," almost tollerable.  There are a few bright moments though, including "Light Me Up" and "Come Back to Me's," respectively, fine rockabilly and country inspired guitar solo's.

Thankfully, by the tenth track, "Dead King's Rise," the Raygun Cowboys return to form.  The track, although still without a horn section, offers grand punk inspired choruses with sweeping "woahs."  The final track, "Attack of the 50's," concludes the album using exactly what made the first three tracks so successful - the thick slapping of the double bass, the brass section's short horn bursts, and the speedy toe-tapping melody, all make a welcome return for a final farewell. 

Raygun Cowboys' offer a great full length debut that should excite anyone who enjoys psychobilly or rockabilly.  And while the moments of brilliance are often offset by stretches of mediocrity, when the Cowboys are on their game they offer some of the best tunes in the genre today.