Catalogue - Order our releases from Bomp mail-orderArtists The Sights

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Hailed by critics and fans alike, The SIGHTS continue to build on an incredible legacy of uncanny blues-rock-power pop. Famed typhoon of rock and roll energy EDDIE BARANEK (guitar/vocals) is joined by Dave Lawson (bass/vocals), Gordon Smith (guitar, keyboards and vocals) and Skip Denomme (drums) to deliver incredible songwriting and electrifying live performances.

With “Most of What Follows Is True,” The SIGHTS have achieved an unprecedented level of song and studio craftsmanship. In an era of soulless keyboards, drum machines and Autotune, The SIGHTS respond with thrillingly catchy songs. No gimmicks, no studio trickery – just rock and roll from the heart. The SIGHTS combine the unobtrusive honesty of The Band with countless slivers of influence from their own personal record collections: Ike & Tina, Solomon Burke, The Everly Brothers, Bob Seger, Tim Hardin and all manner of raucous, infectious songwriting.

It’s the kind of rock ‘n’ roll that kids could latch on to and dig — it’s got youth, spirit, hooks, big guitars and folk and pop — classic power peppered with gentle persuasion and sing-along subtlety. It’s anything but Fall Out Boy.  – Brian Smith / METRO TIMES


The band comes out of the gate with the guitar-heavy "How Do You Sleep?" sounding like a mix between The Creation and Blue Cheer while "Hello to Everybody" is a charging power pop nugget which doesn't forget the humor ("Well I tried suicide but it wasn't for me, it got to be a little too trendy"). A few tunes add some nifty pedal steel ("I Left My Muse" and "Back to You") while the jangly "Maria" adds a nice Beatles touch to the proceedings (and "Happy" is pure 1967 Who with those opening Keith Moon-esque thundering drum fills). Baranek proudly wears his influences on his sleeve but when the attention to songcraft is this detailed you won't hear too much complaining. Their best yet. - Tim Hinely / BLURT


Much of The Sights' first three records play like grinning, raucous romps through dusty record shops, spinning everything from blues to latter-British-invasion to mustachioed, solo-indulgent '70s rock. Most of What Follows is True, with its sporadic brow-raising bluntness in autobiographical lyricism, could be the most illuminating, or at least heartfelt, Sights album yet. Musically, it's simultaneously fresh, yet worn and comfortable, with three new members flexing their idiosyncrasies in instrumental inflection and switching off lead singing/writing. It's still flat-out rock 'n' roll, but noticeably, on Baranek's pieces, more candid. - REAL DETROIT


Recorded, like every other Sights album, at Jim Diamond’s Ghetto Recorders, the band’s fourth shifts the emphasis away from the touchstone mod-psych sounds of the mid-‘60s toward the freewheelin’ rock-a-boogie of the early ‘70s. Their chosen musical path echoes with the distant footsteps of the Small Faces/Faces former band members Steve Marriott, with his short-lived supergroup Humble Pie, but especially Ronnie Lane’s solo work recorded in one of the first mobile recording studios down on his Welsh farm at Fishpool. Combining the jaunty piano/organ and sing-along tradition of British Musical Hall, Appalachian banjo, and violin with rock ‘n’ roll, the touching heart-on-sleeve ode to Baranek’s girlfriend “Maria”, for example, contains the essence of Lane’s pioneering sound.
Then there’s the blue-eyed soul shout, windmilling power chords, driving B4, coruscating guitar skirmishes, and boozy blues rock which provides the album’s sweaty counterpoint. Opener “How Do You Sleep?” is an infectious, tight ‘n’ loose, jamming boogie-party that’s continued on the excellent “Guilty” with fabulous pulsating Hammond organ balanced by punchy guest sax by Brad Stern, and the Band-inspired country-blues rock of “(Nose to the) Grindstone”. But make no mistake, this is a group effort. The two beautiful, melancholy country-pop songs written by Lawson—“I Left My Muse” and “Back to You”, both with teardrop pedal steel by Pete Ballard—along with Gordon Smith’s sole powerpop outing “Take & Take”, fit perfectly within the context of Most of What Follows Is True. Unsurprisingly, these guys have turned out to be honest-to-god rock-a-boogie racketeers. - POPMATTERS