By Mike Fordham
Put on Nic Armstrong and the Thieves’ The Greatest White Liar, and you’d swear you were listening to an oldies radio station. The group’s knack for classic British pop, garage rock and the blues brings to memory the likes of The Kinks and the Yardbirds. Rather than simply mimic the past, though, the band adds a modern touch with a slight Britpop zeal (think Oasis or Supergrass).
Armstrong and the Thieves recorded the disc at England’s Toe Rag Studios, which is famous for its completely analog equipment. Also, producer Liam Watson has previously produced the White Stripes. Both Watson and the studio directly influenced the garage rock sound that dominates The Greatest White Liar.
Still, the sound would mean nothing if weren’t for the ability of the musicians. The band consistently creates some incredibly tight pop melodies, much like their forbearers. Songs like “The Finishing Touch” and “She Changes Like The Weather” are prime examples of the catchy pop/rock melodies that Armstrong and company have down pat. “Can’t Stand It” incorporates fuzzed out guitars into the mix, and the peppy “On A Promise” finds the troop throwing in handclaps behind some prominent basslines.
The band also tinkers with more blues-oriented rock. “Down Home Girl” (written by prolific rock songwriters Leiber and Stoller) revels in its dirty sound as Armstrong’s distorted vocals add authenticity, and “Natural Flair” sounds like it was ripped from the Kinks’ songbook. The group honors rock ‘n’ roll legend Chuck Berry by covering his “I Want To Be Your Driver,” sneaking in tons of bluesy riffs.
“Broken Mouth Blues” recalls Bob Dylan’s looser moments, as Armstrong heads into more folk-like territory (complete with harmonica lines). “Scratch The Surface” is further proof that the group can convincingly pull off a folk sound.
For all of the honesty and grit that’s in Armstrong’s voice, it can lead to trouble at times. The mix for “I’ll Come To You” elevates his voice, which doesn’t work especially when Armstrong tries to hit high notes. The song would have benefited from a better mix, along with a softer vocal delivery. Armstrong gets a bit whiny on “Back In That Room” as well.
The Greatest White Liar might make people nostalgic for the past, but the band is simply giving their modern take on garage rock and ’60s pop. Nic Armstrong and the Thieves excel in their primal, jagged glory.

The Chronicle gives “The Greatest White Liar”, by Nic Armstrong & The Thieves four out of five stars.