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Roadsaw
Rawk N' Roll

SS-060/2007

Roadsaw is:

Craig Riggs: Vocals
Ian Ross: Guitars
Tim Catz: Bass
Hari Hassin: Drums

Eric Welsh: Organ & Piano
Jim Janota: Bongongos

Recorded & Mixed by Andrew "Fingers" Schneider at Mad Oak Studios - Boston, MA.
Drum Tech: Carl Plaster
Mastered by Henk Kooistra at 9 West.
Layout by Bob Maloney.
Front Cover Photo by Beth Schneckenburger.
Inside Photo by Catherine Carter and manipulated by Joe Niedbala.
Additional Mastering by Nick Zampiello.

Reviews for Rawk N' Roll...

AllMusic.com

Back in the days when the earth was flannel, metal had gone 'nu,' and stoner rock was young (i.e. the late '90s), Boston quartet Roadsaw regularly found themselves mentioned alongside charter groups like Nebula and Fu Manchu when discussions of the burgeoning genre were had. But even though they had unleashed their debut album, Nationwide, in the midst of that movement's biggest surge of popularity, Roadsaw were really disciples of a much more timeless, clique-less school of stripped down hard rock (no space flights for these cats). Hence the informative title of their sophomore record, Rawk n' Roll, which sadly vanished without a trace after being released through tiny independent Luna Sound, in 2002, but was deservingly reissued by Small Stone five years later. But whether you're listening to it in '02, '07, or, by some miracle of time travel, 1977, chances are you'll find Roadsaw's universal brand of heavy blues rock perfectly 'contemporary' with that of '70s icons like the James Gang, Ted Nugent, or hometown heroes Aerosmith. Montrose is another band that comes immediately to mind (think "Bad Motor Scooter"), while listening to Roadsaw specialties like "Right on Through," "Bad Ass Rising," "The Finger" and "Buried Alive," whose riffs actually sound like a stock car's motor revving. Elsewhere, guitarist Ian Ross pulls out all the stops for some truly sizzling guitar work on the Atomic Bitchwax-like "Disconnected," drummer Hari Hassin inserts a half-backwards drum solo into "Blackout Driver," and guest organist Eric Welsh adds another dimension to Hammond-ized cuts like "Foot" and the Doors-ish instrumental "That's Mr. Motherf**ker to You." Finally, and definitely worth mentioning is the vocal elasticity of frontman Craig Riggs, whose soulful grit holds down center stage with confidence throughout, but really proves its mettle when isolated for the one-off blues ballad "Your Own Private Slice of Hell." In sum, it's somewhat understandable that Roadsaw's bare-bones Rawk n' Roll would be rather overlooked amidst the stoner rock scene's flashier competition, but as time goes on, that simplicity increasingly spares them from being dated along with it, and many of their peers. -Eduardo Rivadavia
February 29th, 2008
www.allmusic.com

Hellride Music

Roadsaw's classic "Rawk N’ Roll" album has finally been reissued by the good folks at Small Stone, and it's about damned time! These Boston rockers provided some serious quality control back in the olden golden stoner/ desert/ whatever decade (1992-2002), enough so that I was compelled to buy this very album on double ellpee vinyl back in the day. So Small Stone's preaching to the converted on this one. Which is what you should be. Converted, that is. Because, along with better-knowns like Nebula and Bitchwax, Roadsaw was blessed with the talent, tone, and songwriting ability that built the hard-rockin' riff metal underground in the 1990s. Roadsaw was rife with energy, groove, smooooth fuzz, and riffs, riffs, riffs. Yeah man, this is what underground FM radio might have supported, had it come out in the bygone pre-1972 days, and it's no coincidence that Roadsaw sounds right at home in your CD carousel along with Mountain and the James Gang. And they're not afraid to throw in the odd dollop of doom as well. Some say that Roadsaw called it quits at just the right time, but I’ve always felt that they left a void that nobody could ever quite fill. Hey, I'm a big fan of such post 'Saw bands as the Southern-tinged Antler and even the decadent post-glam cock rock of Quitter. But that feeling of loss was still out there, drifting in the void, until the unexpected return of the band with their stellar cover of Zep's "When the Levee Breaks," one of the absolute highlights of the second "Sucking the 70's" compilation. And now there's rumors of a new album. Yes! I choose to view the reappearance of the CD of "Rawk N' Roll" – complete with two extra songs culled from the vinyl release – as a kind of John the Baptist herald for Roadsaw's second career. It's time. So let this fine reissue of a golden decade stalwart whet your appetite. If the rock gods are on their thrones and all is well with the world, the best is yet to come. Kevin McHugh
September 12, 2007
www.hellridemusic.com

StonerRock.com

If I had to name relatively modern Boston bands that left an indelible mark on rock, Roadsaw would be on the short list. Sure, you could name Converge or Cave-In for hardcore metal, Warhorse for doom, or any number of scally cap wearing shitty Irish punk bands if we're talking about scally cap wearing shitty Irish punk, but this is rock 'n' roll we're talking about. Specifically, Roadsaw's Rawk N' Roll. Originally released in 2001, Rawk N' Roll bristles with a booze-fueled energy. While decidedly a product of that early stoner rock explosion, the album still captures a timeless sound. The band's got a knack for strong choruses and killer riffs, as on “Bad Ass Rising,” “Disconnected,” “Your Own Private Slice of Hell,” and “The Finger.” “Hoof,” one of the slower numbers, showcases frontman Craig Rigg's strong vocals while laying down a seriously heavy blues-doom groove. Fans of Antler (the more southern-rock oriented version of the band that started up when Roadsaw crapped out after this album was released) can hear the genesis of that group on “Burnout.” In other words, there's a whole lot of good shit found on Rawk N' Roll, and the album hits just as hard and sounds just as good now as it did back then. The reissue also has two of the tracks that were on the vinyl only version - “Dead Astronaut” and “Dig a Hole.” Of the other two tracks on that original vinyl release, instrumental “Tarantula” wasn't all that great to begin with, and while their cover of “Toys in the Attic” is admirable, they did a much better job with Zeppelin on the last Sucking the 70s compilation. Most people already know of the band, so praising this album's like running around screaming that the sun is hot. But if you haven't heard 'em, pick this up. It's an ass kicker of an album. Hopefully their new album, allegedly due sometime next year, will be just as good. John Pegoraro
August 4th, 2007
www.stonerrock.com

Album Tracks

  1. Right On Through
  2. Bad Ass Rising
  3. Disconnected
  4. Scorpion Bowl
  5. Foot
  6. Your Own Private Slice Of Hell
  7. The Finger
  8. ThatÆs Mr. Motherfucker To You
  9. Buried Alive
  10. Blackout Driver
  11. Burnout
  12. Hoof

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