Album Review: Hot Variety

Since releasing their debut album All Dat Love in 2018, Adam Hattaway & The Haunters have been extremely busy folk. Whilst racking up an impressive list of performances on their self-described “never-ending tour”, they’ve also found time to record and release a slew of critically acclaimed albums. Hot Variety is the latest in that string, and I’m about to tell you all about it.

The opening track is also the album’s first single. Ted Danson has an accompanying mad and wonderful stop-motion video by Maya Templer and Jack O’Connell (Rough On Rats), and is a disco-infused alt-rocker with just a touch of cheeky, cheesy sleaze. The bass is locked in tight with the pulsing kick drum, and washes of guitar and keys support the soft, sexy, breathy vocals. The song’s wryly amusing title is a play on words, from the lyric “I like to dance, son”, and dance you will, just you try and sit still with this in your earholes, it can’t be done, I tell you. Evocative of Lounge Lizards in the best possible way. The “hey hey hey” in the chorus section lifts it into loftier realms briefly, before dropping back down into Carpet Knight territory. A glorious start to the album.

Two Roads has a very different sound and feel, Folk/Indie with crisp acoustic guitar, tremolo-drenched electric, languorous drums, and bass deftly wandering through the soundscape under the vocals. The minor progression switches to major for the hook-rich chorus, a brilliant sub-three minute banger. Strange Vacation is a beautiful piano-driven ballad, ably backed by The Haunters. Delicious vocal harmonies and a hint of Beatles-like composition, both always welcome things to my ears. Adam’s vocals further explore his range in the latter half, giving more hints of the many talents he possesses.

I’m reminded of Rolling Stones’ Sympathy For The Devil on The Last To Leave, I’m understanding the “Variety” in the album’s title. I love albums like this, where an artist truly wears the heart of their influences on their musical sleeve, composing songs that pay tribute without sounding derivative or corny. A class act, on display here. There’s a soft and airy feel to Baby It’s Cruel, mellow and subtle. A song of reflection and relationships, with Adam again showcasing his strong vocal ability. Speaking of vocals, Only Love Remains features stunning vocal harmonies. There’s no percussion on this sweetly pretty love song, just artful bass, subdued guitar, and a touch of keys accompanying the vocals. This song is just superb.

Wild and Alone is also laid back and peaceful, with a tasty slide guitar over the intro. The lyricism is particularly poetic, a true craftsman at work here, and that slide guitar has a well-deserved solo spot in the mid-section. Not My Scene is smooth and slinky. Even though every last one of The Haunters are top-notch musicians, I love this bass player, rock-solid and supremely tasteful all the way through, and this track is no exception. There’s a touch of darkness to this song, with some uniquely interesting and unexpected changes to the chord progression.

Mustard Jumpsuit is short and definitely sweet, and just under two minutes. A song of simple construction, yet it’s a delightful earworm, I can tell it’s going to be stuck in my head for days… and I’m not in the least bit upset about that. Small Town has a huge, open, sixties-style feel, big and powerful, one of those songs that hits you right in the gut, grabs your heartstrings and refuses to let go. Holy Vader’s Fist, but this man can sing. He belts this one out with a roar like a Grizzly bear that’s just been dumped via text. A massive song, the album’s longest at a shade over five minutes, and a perfect way to end this utter stonker of an album.

Adam Hattaway & The Haunters have produced another fantastic album, one that will surely see them lauded and praised from here to the moon and back. This is top-shelf stuff, and very worthy of your listening time. You’ll get amongst it, if you know what’s good for you. Bravo.