Vegas With Randolph | Legs & Luggage (2018)

On the Occasion of a Fourth Helping of Vegas With Randolph

Five years ago, a whoop-de-do was set into motion at Northern Virginia’s Jammin’ Java to celebrate the release of Vegas With Randolph’s third album, Rings Around the Sun. The musicians approached, instruments in hand, songs in mind and set up straight across the bandstand; only the drummer, tucked away a bit behind the conga line, was in his own space. He lorded over his high-hat and snare with his toms leering from front to right. And then, he set the beat and the band was set into motion, calling patrons to the stage.

Now, mind you, this scenario doesn’t occur very often, because the lads of Vegas With Randolph, anchored outside of Washington, D.C. by songwriters John Ratts and Eric Kern, who were childhood pals and still are joined at the hip and their guitars and writing songs, as they always have, when they’re not tending to their own families and day jobs, don’t play out or release new albums very often, although their fans, many and plenty, wish that they would.

The lads of Vegas With Randolph, known sometimes by the swinging three-letter calling card VWR, choose to concentrate on recording albums, the fourth of which, Legs & Luggage, has been released. VWR released its first album in 2008, and this is 2018, which means that they have been assembling tuneage for 10 years. You might say their output does not constitute an avalanche, and you’d be right, but the weight of that output is strong and sure, so you’d probably be best not concerning yourself with geology.

Legs & Luggage is VWR’s best album yet. It is a marvel. This is a new-phase Vegas With Randolph album that thunders across the plains with harder-edged chutzpah than their previous releases. The guitars are louder and the sound is more aggressive. The sound is more purposeful, but just as catchy and fun as always.

“We wanted to kind of rock a little bit on this album,” says John. This is clearly an understatement of some kind, but make no mistake—Vegas With Randolph is a band that has recorded, for this new album, songs with flashy hooks just as they have done all along. This time around, though, there is perhaps a little more oomph spitting out of the band’s engine. This new-phase VWR is a well-oiled and rocking machine.

That the aforementioned oomph, in part, powers the songwriting team of John and Eric is a given, but so does the assembled co-conspirator contingent that plays along with them, skillfully and dutifully, helping the co-pilots steer the ship (a mixed metaphor, I know). Brock Harris’s lyrical guitars and Andy Hamburger’s thundering drums and percussion are essential ingredients in VWR’s new songs—indeed, the songs would not be as alive without them—but the heart and soul of it all may well belong to their bass player, the late and very much missed Dan Aylestock.

Dan Aylestock

Passionate and warm and committed to the music always, Dan passed away last year from liver cancer. A founding member of VWR, he played bass on nearly every one of the songs on each of the band’s releases. These songs on these albums beat with the heart of a player who knew instinctively how to ring emotion out of every note as he traversed up and down the fretboard.

“He would take his time to craft unique parts for every song,” says Eric. “He was always prepared. He was always ready to go.” Just listen to Dan’s work on this album. You will feel his intensity, which manifests itself in any number of ways—with driving force, as on the pounding “She’s an Intellectual,” punching bass notes as one-half of the redoubtable VWR rhythm section, or with sensitivity, in the intro to “I Have You,” and during that ballad’s stronger, more forceful sections.

Dan is right there on this album, which is dedicated to him. Dan is there, and so are the other players, so powerful and electric that their intensity could keep the lights on in a big city for weeks on end. Set the breathless “You Could Say Yes” into motion, propulsive and beat-driven, with fierce drumming, Dan’s pumping bass, and all those guitars keeping the catchy melody afloat, and you’ll see—no, you’ll hear what I mean.

It’s not just the sound of this thing, it’s the words sung sweetly, confidently, meaningfully and powerfully all the way through, telling stories of a scholarly seductress (“She’s An Intellectual”), completely fulfilling forever love (“I Have You”), and riding the roller coaster of love even though it might tug back (“Jacob”). Then, there’s “Three Red Hooks,” presenting the power of music as a metaphor for confident performance with perhaps this album’s most creative lyrics (“Rock steady/Kick it like Eddie/Didn’t know if he meant Van Halen or Vedder/But whatever/While we’re together/We’d better turn it up loud/And kick it on out”).

The songs that make up this fourth Vegas With Randolph album, that present the case for this band being the band of the moment, a band that has come into its own because the songwriters and the players believe in the value of their work more than ever before, are only part of the VWR equation; the way that the songs are written, and how the band performs them, is the rest of it.

“You want a song to be meaningful,” says John. “You want the music to be so catchy that you want to hear it again. You want the lyrics to touch you enough that you want to hear the song again. We’re trying to make people happy. We’re trying to be memorable.”

Employing the talents of Fountains of Wayne’s Jody Porter (on “Chick Fighter”) and Texas popster Lannie Flowers, who cowrote and plays on the lively rocker “The Weekend’s Coming,” certainly helps to make this album memorable. And rocking.

There will be more Vegas With Randolph recordings after Legs & Luggage; there are more songs, around a dozen of them, in various states of dress, all of which are sparked with the magic of Dan Aylestock’s bass (“The notes he played will have a long sustain,” the band says in Legs & Luggage’s CD booklet). And perhaps, in addition to at least a festive release show for this album, there will be more live performances to come, designed to show people what this band can do in person.

I’ve been there; I’ve seen what this band can do on stage, and I’ve seen how the band members relate to their audience, and each other. I’ve felt the presence of these individual talents, coming together for a common purpose; I’ve seen their faces light up as the music plays and draws people close to them. I’ve felt the warmth and humanity in their songs.

This album is titled Legs & Luggage because the songs are largely about transitioning from one thing to another, about taking chances, about moving on from here to there—about transporting emotion packed neatly, or otherwise, in virtual compartments. Legs & Luggage functions as a bridge to the next chapter in Vegas With Randolph’s life; how that reality will manifest itself is unknown at present. But manifest itself it will.

(The preceding review appears, in a slightly different form, as the liner notes to Vegas With Randolph’s Legs & Luggage)

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Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. The 24-hour Pure Pop Radio stream, which ran from 2013 to August 25, 2018, succeeded the weekly Pure Pop Radio show, which began in 1995. Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.