Saturday Looks Good To Me - Every Night

Imagine or think back to music’s jukebox era where the hangouts were corner soda fountain shops and you might understand the musical sensibility of Saturday Looks Good To Me.

Before I dive in and describe the latest release from Saturday Looks Good To Me, I will briefly list the hodgepodge of instruments used on this album to give you a better perception of the comprehensive musical journey of Every Night:

- Drum kit and tambourine
- Twelve string-guitar, slide guitar, lap steel
- Bass and electric bass 
- Saxophone, clarinet, baritone saxophone, trumpet
- Harmonica
- Accordion and vibraphone
- Violin, cello, harp
- Organ and piano

Now take those instruments and fuse them with classic 60s pop and soul music with a modern twist of current indie waves. Imagine or think back to music’s jukebox era where the hangouts were corner soda fountain shops and you might understand the musical sensibility of Saturday Looks Good To Me.

The man behind this wonderful assortment of music is Fred Thomas. And with the help of his friends, manages to take us back in time and explore a period of music while enriching it with a great deal of modern pop; taking it to a whole new level explored in their last outing. Thomas also incorporates a solid style of lyrical writing that compliments the detailed instrumentation on this album, effectively portrayed in the song, “We Can’t Work It Out;” “After the alcohol and the anniversary / You’ll still be happier with a memory / And all of the taxicabs that were fit to drive / Pointed in a line and never did arrive / How many episodes will you put us through / Before you realize there’s better things to do? / How many autographs can anybody sign / Before the people get tired of standing in line?”

The vocals in Every Night alternate between male and female and offer a great deal of diversity from song to song. It keeps your ears open because a different voice seems to pop up from one song to the next. What is unexpected is how all the vocals seem to neatly fit into the overall structure of the album and fits well with the instrumental ambiguity of the music. As much as the vocals change from each singer and so on, nothing goes astray and nothing gets lost in the organization of this album. The recording and production value actually possesses a rare vinyl sound to it, as you can almost hear the needle of the player bouncing on and off the record it seems- this style and technique of recording is really the icing on the cake and tops off the album as a genuine work of art.

(Polyvinyl Records)