Rosewood Thieves is classically predictable

‘ ‘ ‘ The 1960s might be long gone, but you wouldn’t know it listening to The Rosewood Thieves…. ‘ ‘ ‘ The 1960s might be long gone, but you wouldn’t know it listening to The Rosewood Thieves. ‘ ‘ ‘ ‘ ‘ ‘ Beginning with its 2006 debut album, From the Decker House, this New York City quintet has made a name for itself as classic-rock revivalists. Singer Erick Jordan, guitarist Paul Jenkins, organist Mackenzie Vernacchio, drummer Mark Bordenet and bassist Jon Estes are all experts at recreating the sharp, clean sounds of yesteryear. ‘ ‘ ‘ ‘ ‘ ‘ Rise ‘amp; Shine, the Thieves’ latest album, bears an uncanny resemblance to the music of the psychedelic era ‘mdash; Erick Jordan’s voice is almost indistinguishable from John Lennon’s. Given the current state of rock ‘n’ roll, it’s no surprise that in the latest album the Thieves borrow liberally from artists of better days. ‘ ‘ ‘ ‘ ‘ ‘ In this way, Rise ‘amp; Shine isn’t much of a departure from the band’s usual style ‘mdash; steady folk-rock and blues that’s catchy, but by no means groundbreaking. Throughout most of Rise ‘amp; Shine, the Thieves stick to a traditional formula ‘mdash; steady-paced, innocent pop music. ‘ ‘ ‘ ‘ ‘ ‘ The first track, ‘Silver Gun,’ begins with a deceivingly delicate piano that’s quickly overtaken by pounding guitar and drums. ‘ ‘ ‘ ‘ ‘ ‘ ‘I didn’t know things weren’t right, / ’cause your heart is like a silver gun,’ sings Jordan cryptically, supported by Beatles-esque harmonies. Following in the footsteps of ‘Hello, Goodbye,’ Silver Gun changes its structure at the very end, with rhythmic claps and shouts of ‘Bang, bang, bang, yeah!’ ‘ ‘ ‘ ‘ ‘ ‘ The second and third tracks, ‘She Don’t Mind the Rain’ and ‘When My Plane Lands,’ start off almost exactly the same way ‘mdash; a high piano riff overtaken by a grumbling guitar. ‘ ‘ ‘ ‘ ‘ ‘ This isn’t to say that the Thieves are without variety. ‘ ‘ ‘ ‘ ‘ ‘ In ‘Flat Tire,’ a flute is heard floating peacefully above a contemplative acoustic guitar. In ‘Fair Lights Flashing,’ banjo and carnival music create a dark, steady pulse similar to that of ‘Being For the Benefit of Mr. Kite.’ ‘ ‘ ‘ ‘ ‘ ‘ For the most part, however, The Rosewood Thieves are not looking to reinvent the rock ‘n’ roll wheel. Songs like ‘Mad Mad Blues,’ (dark and bluesy, while not necessarily mad), ‘Junkyard Julie’ (lazy and forgettable) and ‘Gone,’ (poignant, with a soft slide guitar) all fit well within the realm of standard ’60s fare. ‘ ‘ ‘ ‘ ‘ ‘ The album dies quietly with ‘Heavy Eyes’ ‘mdash; a seven-minute chill-down track that’s gradually overtaken by ambient noise, much in the same vein as The Velvet Underground’s ‘Heroin.’ It’s a satisfying end to what is generally a satisfying album. ‘ ‘ ‘ ‘ ‘ ‘ Rise ‘amp; Shine is much like the glass environments you see at natural history museums, complete with the stuffed extinct animals and the background landscape paintings ‘mdash; it’s an impeccable recreation of a lost time. But like the stuffed animals, it seems to be frozen at spots, unable to escape its steady, mellow pace. While the Thieves might have mastered the sounds of the ’60s, they don’t touch upon the inventiveness of its bands. The Thieves are great for taking us back, but they do little to push us forward. ‘ ‘ ‘ ‘ ‘ ‘ It’s always refreshing to be reminded of time when Nickelback didn’t dominate the rock charts. If you want a modern-day band with a yesterday sound, the Thieves are there for you. Just don’t listen for the next big thing.