WATTS: "One Below The All Time Low" & "On The Dial"

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Watts "make a superb retro rock ‘n’ roll racket," says Rob Forbes (Leicester Bangs). A dynamic four-piece aptly named for the gentleman drummer of the Rolling Stones, Watts' sound combines all the best elements of '70s glam, old school punk, new wave, British Invasion and straight up rock-n-roll to create a timeless amalgam that is at once familiar and fresh. The band was recently named one of 2008's "Bands You Must Hear" by the UK's Classic Rock magazine, and their latest record, "One Below The All Time Low," has been receiving raves from critics worldwide since its release in September 2007.
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''One Below The All Time Low" is never less than loud, proud and intelligent. It's a hugely satisfying treat for anyone still in love with classic US pop-rock and enough to quicken even the most jaded fan's pulse. -Whisperin' and Hollerin'
Watts is a very cool four-piece from Boston who manage to let their classic rock and roll influences like The Stones and the Cars mutate with the sounds of the Strokes and the Clash for a wonderfully rough but harmonic blast of rock and roll. -The Rock And Roll Report
A riot of early ’70s Stones-style garagey riffs, all rip-roaring and ready to raise hell. -The Metro

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This is how rock albums should sound. No posturing, no excess, just proper songs played with ballsy abandon...these guys make a superb retro rock ‘n’ roll racket. -Leicester Bangs
They may have nicked their moniker from the surname of reclusive Rolling Stones drummer Charlie Watts, but this Boston foursome is a lot less gentlemanly, and a lot more loud. The band members do have one thing in common with their namesake, though: They too play in a band built on a bedrock of riff-powered songs that have as much to do with swagger as they do melody. Watts also stoke the twin-engine guitar charge of Keith Richards and Ron Wood, although gruff-voiced singer-guitarist Dan Kopko sings better than both, and lead axe John Blout’s tough, blistering solos are closer in spirit to the knotty workouts of AC/DC’s Angus Young (songs like “Afterburn’’ are ripped right from the “Highway to Hell’’ playbook). Add to the stew a sweetening sprinkle of Cheap Trick’s rock candy, a helping of KISS’s cartoon glam, and a sturdy rhythm section to stir the pot (Neighborhoods/Dirty Truckers drummer Johnny Lynch and bassist Craig LaPointe), and you’ve got a failsafe recipe for an album that sounds like a night on the town. Sure, old-fashioned workouts like “Dancehall Days & Nights’’ tap an ancient vein that began with Chuck Berry and Bo Diddley and has mainlined through a billion garage-rock bands ever since; but that’s the addictive, enduring genius of the stuff. Yes, we’ve heard it before. And yes, we want to hear it again. Just ask Charlie Watts. - Jonathan Perry