story by Cliff Berru

Rock music has long been influenced by style. Every genre and genre sub-division now has a legion of fans particular to one image. Oh, it's not something new or revolutionary…hell, the Grateful Dead had their extravagant hippie culture - and even those cool jazz cats from the 1950s dressed a certain way. The difference between those historic acts and the current influx of white belts and choppy hair is that the music was an adaptation of the culture back then.

So what's the problem? Does the way a person dresses actually hurt anyone? Sometimes it can serve just fun to poke fun at really. Dare I blame this fascination on Ziggy Stardust and his obsession with glam (no wait, that was actually original) or maybe even White Snake for their big hair?

BARANEK'S INNER VIEW "There will be some seven to eight minute opus odyssey, idiotic lunacy jam things going on woven into little songs in between, mixed in with other things and some acrobatics and flying or dancing midgets with fire breathing…"

I'm not here to point fingers. My point is that our beloved independent music has been traumatized by such a concern with style that it sometimes appears as if the "scene" is respected more than the musicians living off of watermelon slices on tour. Whatever happened to the rock musician? The one who is more concerned with rocking your socks off than "bringing in a stylist from NYC to create the perfect hair," as The Sights vocalist/guitarist Eddie Baranek puts it during a chat with Chicago Innerview. "These bands come in with gel in their hair and white belts and they are on major labels that give them this money and a bus with a crew of nine people…I'm not whining. It's just they aren't anywhere near rock and roll. It's pathetic."

The Sights don't hesitate to tell it like it is. They are an extraordinary edifice for rock music as it should be. With heavy focus on dynamic interplay and soulful organ thrashing, this young Detroit rock trio pierces your ears with guitar licks so dirty Wayne Kramer would cry.

Yes, that's right, Detroit: take a moment to conjure up comparisons. Fortunately for The Sights, you might be rattling your brain all night. They may come from the current breeding ground of garage rock revolutions, but it seems all the more fitting to place them in a more broad and respectful position next to the aggressiveness of Mountain, Traffic's compositions, or even the intelligence of MC5. No need for a laundry list of influences, the bottom line is that The Sights are contemporary classics.

"We have always been into this classis stuff," mentions Baranek, "so for me to admit it's gonna be a resurgence in the current modern crop of bullshit is wrong. We are presenting ourselves this way and the world may view us as absorbed into this ancient/archaic rock, but that's what we listen to in the van. It's really hard not to disassociate ourselves with the modern…we really don't give a crap about it."

Classical indeed. The unique use of a late '40s Hammond B3 "is a key element of the band," says Baranek, "almost like the fourth member. I like big pieces of furniture...it's the real deal with old wood on stage." The Sights are just as concerned with performance in addition to recording. A fourth, self-titled record is planned for release on April 12 on Scratchie Records - an imprint of New Line Records run by the Smashing Pumpkin himself, James Iha.

"Live on stage it won't be 13 three-minute pop songs banged out in a row," says Baranek. "There will be some seven to eight minute opus odyssey, idiotic lunacy jam things going on woven into little songs in between, mixed in with other things and some acrobatics and flying or dancing midgets with fire breathing. It's basically a carnival," chuckles Baranek, "just be sure to tell my girlfriend I love her."

The Sights :: with the Forty-Fives :: Bottom Lounge :: April 16.