When a band delivers their second album, is when we can truly begin to appreciate the idiosyncrasies that make them who they are as recording artists. It's a time of renewed confidence when most of the kinks and quirks are have been ironed out by the experience of recording and touring and the smoke begins to clear out from around them. But for Molly Hanmer and The Midnight Tokers, the smoke is a different thing, perhaps part of the mystique and even part of the name and ethos of the band. Besides, it's not like their debut album "Stuck In A Daydream" was a start on shaky legs at all, it was only a sign of things to come.

The psychedelic-Americana blend of the L.A.-based outfit doesn't just flirt with the ongoing and very healthy Stoner-Rock movement of today, it's a huge part of their edge, making their music stand out righteously among the vastness of artists and genres that dominate the modern industry. And of course, Stoner-rock isn't the only thing you'll hear in this album, far from it, it's more like a potpourri of first-class rock 'n' roll, blues, and more.

I would strongly advise against using the word "Retro" to describe Molly Hanmer & The Midnight tokers, as their sound is an entirely genuine revival of classic elements of musical culture that are simply not meant to exist in the "oldies goldies" bin of collective memory but to be present and active in the current artistic landscape. Perhaps more so now than ever before.

With Molly Hanmer herself, and manager Claudia Miles authoring, all songs save for one (more about that later)you can feel happy that we're hearing a product that's entirely involved and personal for everyone, and I'm more than happy to report right off the bat that we're getting some excellent songwriting. But enough gushing, let's take a quick, closer look at each song.

Gunman

If you're making a Vietnam-era war movie, and you want to not use Fortunate Son, but you still need something that sounds the part, you pick Gunman by Molly Hanmer & The Midnight Tokers, simple as, no ifs or buts. The song is a heady, hazy and dense cloud of Blues and Rock & Roll, made complete by an amazing organ sound by the hand of John Bird and a sick guitar work by Molly Herself, and boy did she knock it out out of the park.

Born On the Bayou

Talk about wearing your influences on your sleeve like a heart tattoo that reads MOM. If the previous statement didn't make it sufficiently Creedence-clear, then this ought to. The song by John Fogerty is a certified classic and there's not much I can add to the conversation that hasn't already been said over the years by better music critics and journalists before me. I personally loved Molly's version and thought she did it perfect justice. I know some people have strong opinions about covers, especially about classics, but if you tell me they botched it, then you're deaf and dumb, sorry.

I Just Wanna Love you

This song isn't "Rock & roll" per-se, though I am one to claim Rock & roll is not a genre but an attitude and a spiritual disposition, and this song certainly has that in spades. "I Just Wanna Love you" is an upbeat Soul song that is an immediate jolt of good vibes from the very first note. The strong style, backing vocals and the absolutely killer Brass sections just keep this track on a very high note all the way through, an instant classic you could imagine Aretha Franklin herself singing back in the day, and I get chills just writing about the fact that it exists.

I Bet You Think You're Cool

Another very catchy song, far deeper into the Americana bloodline. The band digs up the Harmonica for this one and really puts it front and center. it's patently obvious by now that they're exploring almost every sound in the book in a very noble quest to revindicate the analog and the folksy, to prove that something new and contemporary is made in the same pattern and with the same tools that the forebears of the genre used to drive audiences wild with music that showed such passion and skill alike.

Sick Of Me

The band surprises us once again. This time, with a heavy guitar sound and unmistakable punk energy. The Song's funny self-deprecative narrative lends itself to the light atmosphere and faster sound very easily. This time we're able to appreciate Keith Palmer's drumming a bit more, as he seems able to really "Get Loose" some more from the more previously traditional structure, coming up with more intense fills here and there that drive the song like an engine. Not that his work has been unimpressive or lackluster so far, but it's just in the nature of speed to make percussion stand out much more, in my opinion.

Get Loose

The Title Track of this album takes the cake for catchiness, and it brings it back around to that slightly more acidic, Stoner-Rock playground where the distorted, cool-as-hell guitar riffs invade every inch of space around you. The song has his somewhat slow waltzy honky-tonk sound that still manages to maintain the electrifying high-energy momentum of every track so far, just in a different, more sensuous way, edging closer to Desert Rock than ever before and capturing the vibe of the band as a whole.

Hard Day’s Work

This song boasts some excellent penmanship again. It slows things down a bit more than "Get Loose" but not in a way that breaks the pace of the album at all, it follows on the mood progression set by its predecessor and brings it to a grim and even hazier place with a mournful backing organ sound and a military funeral march for the Snare Drums. The Bluesy Backing vocals and chorus are absolutely killer, making the song as catchy as the rest, and here Molly sings her best in the whole album, I believe.

Blah Blah Blah

Brings the album right back up and touches upon the spirit of Molly Hatchet, again showing us the huge range of influences and skill that this band boasts. "Blah Blah Blah" makes full use of the band's layered sound to blend so many influences together, it probably makes it the most inter-generational-sounding track of the entire album. Very fun, very impressive, and of course: Very catchy Did I say Molly Hatchet? there's definitely some Green Day in there too.

Rise

Looping back around classic Americana, leaning heavily on the Harmonica, this song reminds me heavily of Kristoffer Kristofferson's legendary tale about one Bobby Mcgee.

For this song, the band brought David Kalish on the Slide Guitar, doing an absolutely killer little number on it, even if he has to compete with Molly's insane harmonica grand finale.

Boil it down

Almost as if everything up to now wasn't enough, Molly had to close the album down with a song in the classic soul/folk style. Accompanied only by one insistent single thump for a beat, the song pays its utmost respect to the very roots of just about every genre of music in America's artistic veins with this, and I couldn't think of a more fitting and dignified way to say goodbye in an album this consistently good.

Final thoughts - I'm far beyond pleased and impressed with "Get Loose". It's a terrific album in every way, not a single song is lacking, never did I feel like I was listening to padding of any kind, and in fact, the 10-song-journey feels short if anything. The only point of criticism I feel can be fairly leveraged here, is that I found Molly to be a bit shy with her own vocal range and intonation, she can definitely vary the way she sings something, but I felt it wasn't something she leaned hard enough on. This is not a problem on an individual song-to-song basis, but across an entire album heard in a single sitting, it is noticeable enough that I can nitpick about it.

That considered, "Get Loose" is most definitely one of the best albums I've heard all year, and on musicianship alone, Molly and the Band can take pride in the fact they carry on the flame of rock within them. For anyone who says "Good Rock & Roll is not being made anymore" I'm more than happy to say: Shut up, you're wrong.

MOLLY HANMER & THE MIDNIGHT TOKERS GET TIGHTER TO "GET LOOSE"

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