The Thieves - Seduced by Money

I found this one still in the original shrinkwrap and the cover looked interesting. It was on Capitol Records and it didn't hurt that I recognized producer Marshall Crenshaw's name on the back cover. I always love a good hype sticker, and the implication here was that this was full of hits. Three of them. Score!

When I dropped the needle I was stoked to hear the opening notes to see what this was going to be ... I had cranked it a little louder than normal and I stood there looking down at the needle waiting ... then it hit. This is my favourite part of a new record. The anticipation. The opening guitar riff hit me in my happy place (the best feeling ever), and after a few licks of guitar tastiness, Gwil's voice came in and he's got his own thing going on. Part Americana Roots Rock, mixed with good old fashioned Southern Rock. I actually thought he sounded a bit like Pat MacDonald from Timbuk 3 mixed with Dan Baird from Georgia Satellites, and a dash of Steve Earle when he's in rock mode. That first song was the first song listed on the sticker, "Everything But My Heart" and I don't know if it was a hit or not, but it was good. Extra points for the slide whistle. These guys were serious with a sense of humour. 

It was followed by "All The Lines Are Down" that was also on the sticker, and it too was really good. It was what followed that really caught my attention. "Black Lipstick" musically seemed to take a page out of the Lynyrd Skynyrd songbook, but Gwil's vocal delivery was more alt rock with some serious swagger. I'm going to assume the lead guitar work was provided by Bart Weilburg. I love discovering players who have a sweet touch without resorting to technical wankery - there are no wasted notes. So far I've been really impressed, and the opening acoustic guitar that ushered in "Girl of My Dreams" was a delicious slow burn, and honestly this is one of the highlights on the album.

The first side closes with the twangy "When I Wake with Someone New" that may be a tad generic but it was delivered with gusto. The country double stops didn't stray into chicken picken' territory and the band kept the song grounded more in roots rock than country. 

So far this has been so good. Now, it may seem like I've been writing in real time as the record played but that's not quite true. Oh I've been jotting down my meandering thoughts as the record plays but I've probably gone through the first side three times already, well and the second side too, but I stop writing while the second side plays. I'm letting that side soak a little. Anyways, the first side is done, and I'm sitting in silence. 

Intermission. Time to introduce the band:

• Gwil Owen: Songwriter, vocalist and guitar
• Bart Weilburg: Guitars
• Jeff Finlin: Drums, percussion, vocals, and slide whistle
• Kelley Looney: bass*

I found myself going down a series of rabbit holes looking up the guys. Gwil is still active, Bart has a couple of things on bandcamp, and Jeff seems to be an Americana artist worth looking up. Sadly Mr. Looney passed away at the age of 61 in 2019. There is not a lot of information specifically related to The Thieves. I will say it makes me happy that after all this time the guys are still out there doing their thing.

Hopefully you've had time to get another cup of coffee, or more popcorn. I've flipped the record and am seated ready to go.

Side two opens with the third song from the hype sticker, "From a Motel 6," an engaging rock track, complete with occasional guitar squealies (fine, pinch harmonics) that leave a subtle country aftertaste. I really like this one. "Pick a Number" literally picks up the pace, and the band leans into a Nashville-inspired groove. It’s a sound that would later define modern country, but back in ’89 this was fresh and firmly rooted in rock and roll with a dose of rockabilly charm.

Partway through "Pendulum," I found my attention drifting slightly - not for lack of energy, as it’s still a barn burner, but more because I was getting used to the sound and the stylistic thread was more obvious than subtle at this point. That feeling eases with "Seduced by Money," the title track, which feels built for the stage, complete with a big rock ending that was already baked into the studio version.

This is a strong set of songs - honestly, they’re all good, at times really good but by the end of side two the band had settled comfortably into a countrified rock vein. The plus is that consistency gives the record a cohesive feel, even if it occasionally makes individual tracks blend together. By the time "Cassidy Knows" closes out the album in a similar manner, I found myself intrigued by my reaction to side two. I loved the first side, and the second side was all good and when taken on its own, is just as energetic and entertaining as the first half. Seduced by Money reveals its strengths more through its overall vibe than its individual distinctions.

I'm not sure why I felt the need to be so critical to what is essentially a lost gem. I mean seriously, I'm sure that when this was released there was an implied promise by Capitol / Bug that there really would be three hit songs. They even shipped the album saying they were hits. It's not like the band didn't deliver the goods. Those three songs are among the best on the album, and although some of the songs did sort of blur together they were all good. 

This album still sounds amazing, and despite the passage of time there's a timelessness to the songs. Yeah, one could argue there's a subtle time stamp that watermarks the songs as being from the late '80s, but dang it, let's be frank with the passage of time the new music hasn't evolved so much that the songs on this album are no longer enjoyable. 

What really sucks, and sucks for you is that the album is not on the streaming services, although if you look (please look) you can find a collection of early demos to many of the songs found on Seduced by Money, called Catfish Karma and a follow up by Gwil Owen & The Thieves (that was self released).

The album was recorded in Nashville and was produced by Marshall Crenshaw, who at that point in his career was probably still best known as the guy who sang "Someday, Someway" despite playing Buddy Holly in La Bamba. I suspect he was paying attention to the lessons provided by T Bone Burnett when they worked together on his 1985 release Downtown and was able to apply them to his working relationship with The Thieves. 

In the end The Thieves may be been seduced by money, but the money never came no doubt leaving the band with a serious case of blue balls. 

I can almost hear what you're thinking, "Wait a second you cannot be serious, you're going to end with a blue balls metaphor?" Look I'm not sure how to finish this ... 

* Kelley Looney played bass with Steve Earle and was featured on the albums Copperhead Road and The Hard Way and was a touring member of with Steve for many years