The Sweet Things clearly worship at the altar of the Rolling Stones, specifically the stride that starts with Let It Bleed and ends with Exile on Main Street. This is an oft tread path because those records are near perfection. However, the musical landscape is littered with the bones of half-assed Keith’s and Mick’s who heard the tunes, did the drugs and just couldn’t wrench from their psyche the rock and roll gems that were clearly waiting to be uncovered. Honestly, the moon and stars have to align to make a great rock and roll record, sometimes.
I’m not sure what day (or night, whatever) the Sweet Things wrote or recorded Love to Leave, but if you check your astrological charts, I’d bet dollars to donuts everything was lined up just right. Love to Leave has the drunken swagger and sway of a track off Exile while maintaining a decidedly Johnny Thunders sneer just lurking underneath that Stones veneer. Maybe that’s the cocktail people have been missing this whole time: the Stones were the precursors to power-pop and punk rock; on some level. Cocaine Asslicker Blues, a tip of the hat in name at least to Cocksucker Blues, actually reminds me more of a great Cheap Trick tune. The beauty is that The Sweet Things have some very obvious influences but the listener would be hard pressed to pick it apart and point at any one thing as being part of another bands repertoire. All musicians are slaves to their influences but good bands take those influences and construct monuments to their new thing on the rubble of the previous king’s castle. Hope the Sweet Things bought stock in a brick company, because Johnny Thunders has been dead a minute and the Stones haven’t made a good record (or any record) for a while; it’s time for a great new rock and roll band, build that monument fellas.