Leather jackets, Marshall Amps, rolling papers and rock 'n' roll are not common to Zebulon (pop. 2,055), North Carolina.
Located just east of Raleigh; Opie, Sheriff Andy Taylor, moonshine, chewin' tobacco and country music are the first images that spring to mind when one pictures Zebulon. A loud, brash, aggressive rock 'n' roll band with roots in catchy, British Invasion pop just doesn't seem like a natural product of the tobacco belt.
"Yeah, we were brought up in that, uhm, culture," drawls Lustre vocalist/guitarist Will Marley during a recent phone call. "But, I think our album makes it pretty clear that we were inspired by outside forces."
Breaking out like punch-drunk, riff-happy Raspberries or a consistently-brilliant Teenage Fanclub; Lustre's self-titled A&M Records debut loudly defies the band's Deep-South origins by drawing on those "outside forces" for 10 muscular, loosely-played, guitar-driven power-pop songs bursting with sweet vocals, bright harmonies, crunchy, fuzz-laden hooks, heavy, semi-grunged beats and the earnest, ringing clarity of Bob Mould's best work.
"There's a real interesting mixture of musical tastes at work in the band," explains Marley of his group's unlikely sound. "John (bassist John Ray) has played in heavy metal bands, Greg (ex-Antiseen drummer Greg Clayton) was into punk and I've always been this, like, total pop guy."
"While each member contributes different elements and influences from their past to Lustre's sound," he adds, "basically, we just try to make music that sounds good to us. Luckily enough, things have finally started happening."
Joining forces through a mutual love of loud, melodic noise and classic pop hooks that haunt you in the middle of the night; Lustre was born a few years ago on a small North Carolina stage playing for no one.
After a few largely-ignored cassette demos, a slew of underdog gigs in front of indifferent, occasionally hostile crowds, thousands of miles spent traveling in a cramped, smelly, uncomfortable tour van, enough greasy fast food to clog the collective artery of a major city, a split 7" single with Uncle Joe's Big Ol' Driver, a song on the Empire Records soundtrack, extensive American tours supporting Babes in Toyland, Seven Mary Three and The Nixons and a full-length, major label debut - things have finally started happening at an accelerated pace around the band. Lustre is in danger of becoming rock's latest "overnight" success.
"The switch to A&M doesn't seem to've made that big a difference in our touring habits or lifestyles yet," says Marley. "Although we still think it's a shame that we only get to play for, like, 60-minutes a day and then spend the other 23 hours doing nothing. If you think about it, besides a sound-check and playing our set, most of our day is spent traveling in the van, sleeping in a motel room or waiting to get up and play. So being on stage is, I'd say, definitely our favorite part of the day."
"Some people like to point out to us that our album, 'isn't very original and sounds like, blah, blah, blah,' " Marley chuckles in amusement. "Which is okay. Really! (laughs) They say stuff like, 'well, you're not really doing anything super-innovative, but the record is good.' Well, thanks," he drawls sarcastically, "but it's pretty much just-about all been done already anyway, hasn't it?"
"We just try to do what we do well, ya' know? I think the people who've had the biggest problem with us were probably expecting, like, some sort of 'alternative' act," he laughs. "And the problem with that is that we think we're a pop band. That's all we're up there doin' - playing good, entertaining rock 'n' roll music. We're just a pop band."
"People like pop music, I think, because it's easier to, uhm, take. It's easier to listen to," Marley explains. "And, after years of hearing it on their radio and television, people are almost conditioned to actually need pop music."
"It's (writing good pop music) all about creating lyrics and music that people can identify with. There's always been, and always will be," he adds, "a need for good, entertaining pop songs."
"I think our record sounds great," Marley states with obvious pride, "but, I just don't know if it's gonna grab hold of the folks out there who're buying records right now. I mean, we're glad to be able to do this for a living and it won't be the end of the world if we don't sell a million copies. But, as far as us on today's charts? Well, let's just say that it's real hard to tell what's gonna be a hit anymore."
"You never know what's going to happen," he adds, "so I think that all three of us try not to think about it (success) too much. All we can do is go out and try to have a good time. We at least get to do this. We're not working at, like, the hardware store," Marley laughs, "and I'm not a food salesman anymore. We're just glad to not have to do that."
Originally appeared in Music Paper
