Jackson And The Janks                        

Write It Down

Jalopy Records

“Jackson and the Janks” are a New York–based rock and roll and rhythm-and-blues garage gospel band, known for lighting up the floor with fresh yet time-honored dance music. Sacred steel lifts the sound skyward while bass saxophone keeps it grounded, creating a joyful, physical groove that pulls listeners in immediately.

The new album features seven original songs written by Jackson Lynch, along with a deep-cut cover of a Mamie Perry tune first recorded in 1959. The personnel includes Lynch on guitar, piano, and vocals; Sam Doores on drums and vocals, or Willie Martinez on drums; Craig Flory of Tuba Skinny on bass and tenor saxophone; and Matt Bell on steel guitar for six tracks. The final track on each side features Ryan Weisheit on bass saxophone, Izaak Mills on baritone and tenor saxophones, and John Cushing on trombone. This release follows the band’s 2023 self-titled debut album.

Imagine strolling down an alley in New Orleans or Brooklyn late at night when this sound jumps out at you. Sung and played with verve, personality, and joy, the music fills the dance floor instantly. These songs wouldn’t have sounded out of place on the legendary Specialty Records of the 1950s and ’60s. The band has appeared at the Brooklyn Folk Festival, the Blackpot Festival in Louisiana, and the Oldtone Festival in New York. When not on tour, they pack the house in Brooklyn every Friday night, week after week. The album was recorded by Jon Atkinson, with the final song on each side recorded by Gavi Kutliroff.

Side A opens with “The Kick,” as Lynch sings, “With your church dress on, like my grandma back home, could introduce you to mom, but when we’re out on our own, you really turn it on, and do the Kick in good form.” The song celebrates movement and freedom, urging listeners to dance wherever they stand, in the dirt, the street, or the sand, with nothing more than their feet.

On “Beats Me,” Lynch muses, “Why do raging waters, streaming, dry up? Have they been running too fast and time has passed, and now they’re just fed up? It beats me, so I’ll look it up and I’ll write it down,” blending curiosity and humor into the groove.

“Windowsill” is another original, with Lynch chanting, “There’s a quiet room where my baby rolls alone, sitting in bed fixing to get a little stoned. Keep on rolling on, I’ll find it when I’m home,” before the punchline lands with, “She’s like, ‘Where’s my weed?’ It’s on the windowsill.”

On “I Don’t Give Any,” Lynch growls, “Girl, I’m around town, just got in. If you want to get down, I can stop on in. Just give me a sign, ’cause it’s getting close to bedtime. I don’t give any, I can wait, no matter how late, I’ll be ready,” delivering swagger with restraint.

Side B begins with “Riding on a Smile,” an infectious instrumental that lets the band stretch out. The Mamie Perry cover, “Lament,” finds Lynch singing, “You finally went and broke my heart when you said to me we must part. I turned my face to the sky and I cried,” capturing the aching simplicity of classic rhythm and blues.

“Let’s Leave Here” is another original, with Lynch wailing, “Remember the grackle bird, the way she sings, she opens up her throat and spreads her wings. Now look all around, you can’t hear a thing. Bubble popped, singing stopped, people all shut in… let’s leave before something happens,” turning unease into momentum.

The album closes with “Do What You Want to Do,” where the horn section of Ryan Weisheit, Izaak Mills, and John Cushing adds rich color as Lynch croons, “Do what you want and do it. You gotta stick to it, keep striving towards your goal. If it’s right, don’t let it go. Live your life you wanna live, don’t be phony, just be for real.”

The extraordinary and unmistakable vocal talent of Jackson Lynch, combined with the inventive and deeply musical playing of this uniquely gifted lineup, makes this album a vibrant celebration of dance, tradition, and pure joy.

Richard Ludmerer

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