Review of The Gab Cinque Band's "Highway Junkie"
A Concise, Skillful, and Melodic Extended Play Debut
Many years ago, an experienced and knowledgable bass guitarist told me what I already knew: The music industry was devolving toward its 1950s state: Small record labels, small venues, local scenes and circuits, and singles as the dominant format. She thought it was a good thing, as artists would have more autonomy—they just needed to work harder and develop business acumen.
Not much of interest is happening nationally and internationally yet in this return of the 1950s, but Monmouth County, New Jersey is the locus of a thriving local scene which could lead to national and international greatness again if any local scene could. And one of the scene’s leading artists is The Gab Cinque Band. They represent the best of today’s trends—newfound autonomy—and go beyond it with performances in some not-so-small (and not-so-local) venues and more ambitious recording projects. Their independent extended play debut, Highway Junkie, was recorded at Shore Fire Studios in Long Branch and released earlier this year. EPs are technically considered singles, but Highway Junkie, while concise at nineteen minutes, impresses and rewards the listener with the cohesion of a more epic and integrated album.
Written and produced by vocalist Gab Cinque and guitarist Fran O’Brien (both play keys), the disc commences with a pile driver of a track titled “Savin’ It (For You)”. Lyrically, it challenges modern stereotypes with a female protagonist showing patience with and interest toward a guy despite his inability to express his own interest in her. Cinque has been compared to New Jersey hard rock legend Ray Gillen, and she is capable of astounding vibrato and technique that could rival his. The versatile O’Brien plays rapid licks bordering on shred in concert; he has a bluesier style on disc. The song is evocative of the dynamic between the two lead characters in Allan Moyle’s 1990 film Pump Up the Volume, and it would be optimal for a soundtrack to a remake of that film in the podcast age (if we must have nothing but reboots these days). It is a masterful performance and even more masterful work of songwriting.
“Art of War” is next. It includes the familiar Asian motive known as “the Oriental riff”, perhaps most recognizable in a rock context in Rush’s “A Passage to Bangkok”. It’s by far the least engaging song on Highway Junkie, but it’s another example of instrumental and vocal prowess that vanished from popular culture thirty years ago.
The beginning of the title track sounds like a first rate progressive rock ballad with ringing open acoustic chords and ethereal organ reminiscent of Deep Purple’s Jon Lord. The tune charges into something more driving and straightforward before reverting to a mellower and ethereal yet unclassifiable sound. The organ provides a color to all of Highway Junkie that complements the crisp production, giving it a dynamic sonic quality appropriate to the EP’s multifaceted compositions.
“Structures” is the collection’s most lyrically striking and maverick song. It could be “Savin’ It (For You)”’s protagonist again narrating. It’s definitely a different guy. This relationship didn’t last, and the lady sounds disappointed in both of them while retaining her dignity. “Why did you need me when all I need’s myself?” is a succinct statement of pride that is welcome in a broader culture characterized by dependence and self-loathing.
Crunchy rhythm guitar and organ mesh on the fifth and final song, “What I Need”. Mid-tempo and lyrically safe, it’s not as bold and arresting as the three highlights, but it’s a pleasant enough listening experience, and it shares the attention to craft and the adroit musicality of the highlights.
Highway Junkie would be remarkable enough in today’s cultural and musical wasteland if it were written and performed by famous veterans with an unlimited budget and produced by Bob Ezrin, Steve Lillywhite, or Peter Collins. Considering it is the self-produced debut of a young band, it is either an anomaly or the prime mover of a long-overdue trend. Hopefully it is the latter and it will produce momentum for that trend.
The Gab Cinque Band maintains a sedulous performance schedule with appearances all over the mid-Atlantic, from Maryland, Delaware, and Atlantic City up to Connecticut and west to Pennsylvania. Unfortunately, they play many covers, but they are so mesmeric and rousing they manage to provide appeal to the most dun, lifeless songs of the Nineties. They cover much better and older material, too, and thankfully throw in originals now and then. While they are hardly the only exceptional artist in their corner of New Jersey today, Cinque’s vocal range, O’Brien’s multi-instrumental skill, the uncredited rhythm section’s tight ensemble playing, and the lead duo’s songwriting quality are all welcome and rare in my experience—and I spent over a decade searching for bands like this in Los Angeles. The band is well worth seeing in any of their multiple live configurations, whether duo, trio, or full band. More information can be found at their official website here.
Highway Junkie is available on YouTube and the streaming services, but the production and performance is best experienced with a warm, old-fashioned compact disc. Hopefully it will become available on vinyl if it isn’t already.