Aside from the comedic imagery conjured by thoughts of a drunken primate, Booze Monkey’s newest recording 4^th St. compliments the funk of rockabilly with the bittersweetness of the blues, building a foundation of stellar rock tunes on elements typically considered to be on separate ends of the musical spectrum.  Technically, 4^th. St. is the fifth release by Booze Monkey, but in name alone after a split between the original acoustic duo of Blue Ajay and Joel Ludwig.  Seasoned and motivated by the Booze Monkey’s initial success, Ajay is continuing the project, conceptually evolving the sound in a surprising yet pleasing direction, an evolution that goes beyond the band’s previous work to offer a step forward for an entire genre of blues rock.  Considering the band’s name evokes thoughts of a dirt road dive bar, the album title references a location, and cocktail recipes fill the inside of the CD jacket, I wasn’t certain if I’d uncovered a new record or capitalist propaganda for a new watering hole.  After listening, I gained an appreciation for the overall concept of Booze Monkey; it’s not feel good music per say, rather it’s the type of music that reminds you of the uninhibited good times that compel people to ingest large doses of their favorite liquid vice.  Fittingly, it would stand nicely in the juke box of any dive playing Johnny Cash or Merle Haggard and serving PBR and well whiskey. 

After taking the reigns of Booze Monkey, Blue Ajay has elevated his musicianship, handling much of the instrumentation on the album himself, luring new fans and offering a nice surprise to long-time followers.    The newfound ambient/industrial twang is surely the most intriguing of Ajay’s sonic explorations, giving the record a hint of the experimental feel.  Many tracks are subtle exemplifications, but “Hope” is his best effort of incorporating the new direction seamlessly with the sound audiences have come to love.  “Firewater Fetish” will be a particular favorite for anyone who grew up in the early 90’s, with its opening vocal tempo and percussion rhythm following a pattern eerily similar to Save By The Bell’s theme song, yes!  Much of Ajay’s vocals seem more like rhythmic talking than singing, giving impetus for even more comparisons to the aforementioned Cash.  Obviously, building an image around good times and booze has already been done in the mainstream, but Booze Monkey has far more artistic integrity and straightforward musicianship than Jimmy Buffet’s six-string acoustic gimmick.  Given the penchant for heavy guitar riffs and the industrial skew, I would wholeheartedly suggest the album to fans of Tom Waits.  4^th St. is more a new band than simply a new direction, creating an album worthy of multiple spins (and not just because you’re to cloudy to change records after downing a few of Booze Monkey’s “Hurricane Monty” cocktails).                    

Reviewed By Trevor Dye

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