Teasing and inciting with a heated passion and excitable energy living up to its title, Cookin’ Up A Party is an insatiably mischievous explosion of enterprise and fun from King Salami and the Cumberland 3. It is a thrilling instigator of devilment and lustful rapture brought on by its sensational conjurations of rhythm n blues soaked through with punk, soul, and the finest purest veins of vintage rock n roll and rockabilly. It is a release which grabs you by the heart and takes you into a riot of unbridled joy and infectious rascality like an old triumphant friend.
Cookin’ Up A Party is the second album from the band and follows the brilliant storm of diablerie of debut Fourteen Blazin’ Bangers. The new album brings further sonic brawls of devilry driven by the same pleasing hunger and instinctive fun which has seen the band major lures to fans and passions all over the UK, Europe, and as far as Japan and China. It is hard to say that the new release is a dramatic step into something different from its predecessor but the band continues to stand at the top of its creativity with more of the familiar and varied aural manna, a feast of joy to devour with primal greed.
Led as always by the vocal knavery of the King, the band unleashes fourteen more slices of sheer contagion with again the irresistible musical persuasion of former members of the Ulcers, Chinese Lungs and The Parkinsons, in the charismatic shape of sonic teasers Eric Baconstrip, Kamikaze U.T. Vincent, and Pepe Ronnie. The London band is a musical mongrel rippling with the dramatic flavours of the Caribbean, France, Japan, and Wales, its member’s nationalities, and now flushed with a melodic fire from Mexico brought by new and fifth member Chuchi Sobrassada. Combined they as mentioned bring more of their delicious tasty sounds but now with an extra incendiary sax spice for the heart to consume with ravenous appetite.
As soon as the big beats of Prissy Missy thump the ear for the opener, senses and excitement eagerly raise their already excited heads. With King Salami pouncing with his ever magnetic style and energy, the song leads the listener into a fiery encounter with those rampant towering rhythms a primal lure and guitars a jangling pleasure. The deal is sealed for the passions with the seductive sax coaxing of Sobrassada, his melodic flames a lip smacking additional spice to the already hot dish being offered.
Through the following tracks She’s A Kukamunga and Howlin’ For My Woman, the release continues as a riveting companion leaving one exhausted and emotionally aroused. Vocally the King as ever owns the ear, his delivery irrepressible with essences of Bo Diddley and Screaming Jay Hawkins whispering loudly from within his distinct style. Both songs stomp with melodic caresses and rascally energy, the first a lively romance lyrically and for the ear whilst the second is a rocking encounter with sonic shimmering and bruising rhythmic taunting which ignites the already deeply entrenched pleasure further.
As the likes of Yosemite Sam with its seductive sax and guitar dance over rowdy rhythms, the roisterous Less Bone More Meat, and Watch Your Mouth with its punkish stance and insistent rumbling r & b breath, spellbind and consume the imagination, the album already has full grip and persuasion on the heart, offering open variety and mesmeric enterprise within its wonderfully agitated and contagious swagger..
From start to finish each track on Cookin’ Up A Party is a raucous treat with the loud exhilarating party of the album being aided and abetted most impressively by The Monkey Beat with its hyperactive garage punk of pleasure, the intoxicating instrumental Big Chief with its epidemic of hypnotic rhythms, wanton hooks, and melodic suggestiveness, and Trubble Trubble. The second of the three has a brilliant raw growl from the bass which alongside its sonic flames easily steers the track towards top honours on the album even if now and then during its viral catchiness one wants to shout tequila. Trubble Trubble is another song which steals the passions instantly, its stirring romp of a gait inciting nothing less than ardour and the skilled manipulation of the senses by all from guitars to bass and rhythms to vocals, impossible to disengage from within and after its compelling company.
Ending on the equally magnificent It’s All Your Fault with its resonating rhythms, coaxing percussion sweeps, and strolling melodic caresses, the Dirty Water Records released album is the ultimate blast for heart, and soul. King Salami and the Cumberland 3 have released yet another album which refuses to let you be a wallflower to its rollicking encounter or feet and voice to be a mere watcher of the sweaty unrestrained vibrant and pulsating sounds within the album. Not that you will want to refuse its outstanding suasion.
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