REVIEW: Jet Black Berries “Sundown On Venus”

Jet Black Berries – Sundown On Venus – Definitive Edition

I actually had this album back in 1985 but can’t remember how I came to acquire it. Curiosity probably. I listened to bands back then like Del Lords, Beat Farmers, Beat Rodeo, Rubber Rodeo with Trish Millikin, Rank & File, Aztec Two-Step, the Long Ryders, the Bo Deans & Blue Rodeo. That may have led to the Jet Black Berries. It was cow punk, alt-country & edginess. At times like with “Shadow Drive” they cruised the same avenues as the Anti-Nowhere League & the early Stranglers.

The Definitive Edition is a remastered reissue of this LP. It leads off with “Johnsonville” with all the trademark infusions that make this type of music interesting. It’s not Pink Floyd. The instrumentation is quirky, solid, & compelling with authoritative vocalization. I particularly enjoyed the title track “Sundown On Venus,” & “Shadow Drive.” They had character like David McComb & the Triffids (“Wide Open Road”). They were different. Kevin Patrick’s vocals are superb.

But the JBB’s themes & storytelling is what shines throughout because it’s a concept album with questionable characters. William S. Burroughs, Aleister Crowley (who’s urn is buried not far from me in Hampton, NJ – not many know that). The songs are like movie vignettes & the 12 well-developed scenarios of Sundown On Venus – Definitive Edition (Drops Sept 25/Propeller Sound Recordings/38:57) produced by Steve Pross, Duane Sherwood & Rochester, New York’s Jet Black Berries. It has its share of catchy mainstream sweetness but also some near-progressive rock spirit (“Noon In Cairo”) that works with all the effects & potpourri of sound. Close to what Vivabeat’s “Man From China.” But the Berries never lost their sense of roots-rock with a scent of gasoline & the scent of charcoal.

“Sundown” had ZZ Top resin to it that was appealing. Little was over-fried in the showcase – yes, there was a little synth, but it hardly interfered with their musical octane. They had some harmonica in attendance along with its gothic noir black & white hues, psychobilly stabs & a bit of The Dictators grit.

The band never sounded like a garage band – they had too much skill for that tag. They were not as aggressive & angry as The Cramps, Social Distortion, or Roky Erickson. They had a good sense of melody, how much weight each song required & put lots of straw in the bundle – not plastic. Their ability to sing about things other bands & artists didn’t explore is exceptional. “Ring of Steel,” has R&R discipline with fat notes & a smoldering organ swirl. It all goes down easy.