Having first featured Rooster toward the end of 2004, Gigwise has watched with interest at the bandâ€™s development and public perception. To be perfectly honestly weâ€™re still none-the-wiser â€“ they seem to have inherited the fans of Busted (RIP), but continue to tour strongly on the smaller circuits that arenâ€™t associated with pop bands. Maybe their debut record can offer some more cluesâ€¦
â€˜Joy Rideâ€™ has an opening not-too-dissimilar to the Chili Peppersâ€™ â€˜Give It Awayâ€™ â€“ but soon turns into something much different. Power chords kick in, and Nick Atkinson throws everything into the vocalsâ€¦ itâ€™s ok. First single â€˜Come Get Someâ€™ has a brilliant pop hook and chorus with a tonne of attitude, while â€˜Standing In Lineâ€™ romps along inoffensively. Recent top ten hit â€˜Staring At The Sunâ€™ is simply a power-ballad, and perhaps best demonstrates how sometimes Rooster could benefit from a less dramatic approach, especially in the vocals. â€˜To Die Forâ€™ goes for an acoustic approach, has a lighters-in-the-air chorus, but is actually quite bland. The pace is picked up again in â€˜Youâ€™re So Right For Meâ€™, but it isnâ€™t the bandâ€™s best work.
â€˜Platinum Blindâ€™ is about societyâ€™s obsession with credit card spending â€“ but fuck that, the guitars rock and itâ€™s a decent listen. Why it is they go back to the ballads again is baffling â€“ â€˜Deep And Meaninglessâ€™ is bog-standard, only made interesting by the solo â€˜borrowedâ€™ from Slash. â€˜She Donâ€™t Make Me Feelâ€™ has power chords that would make you think they are an American rock group (you decide if thatâ€™s good or bad) whilst â€˜Angelâ€™s Callingâ€™ has a great melody and arrangement â€“ itâ€™s the best of the slow-tempo tracks. The album is closed with â€˜Drag The Sunrise Downâ€™ â€“ and it is the best of the lot. A classy tune, Atkinsonâ€™s vocals are well employed in a chorus full of attitude â€“ and it ends with guitarist Luke Potashnick making his instrument scream. Shame that there isnâ€™t more of this.