Tuesday, November 21, 2017

Ray Davies - Americana

Review by Mike Kimmel

There's something I find terribly endearing about Ray Davies. I don’t know if it's something in his attitude that comes across, or something in his lyrics. Maybe it's just the turn of a phrase, the addition of an unexpected vocal presence. I really have no idea, but I do like him enough that I've written a song entitled "I Want to Be Like Ray Davies". It'll be on my first album (yeah, whenever that comes out)!

For instance, in the title track he's talking about "…my baby brother and me in the land of the free…" taking some road somewhere. They have no idea where it goes, but "…it's gonna take us somewhere". The title is "Americana", which he refers to at least once as "Amer-i-nirvana" because he wants to make his "…home where the buffalo roam in that great panorama."

He's got a home in New Orleans, and through Americana he mentions a couple of Americanisms such as "Big Sky" (Montana) and "Moon" (Kentucky) several times. I know. Pretty vague, but the context in which the words are used will help explain a bit more clearly.

I was fortunate enough to see the Kinks years ago with Ray and Dave Davies, Mick Avery with his candy cane striped drumsticks. It was a great show. John Mellencamp opened. Of course, that was years before his bass player wound up wanted on child pornography warrants out of Taiwan (that's not made up – how bad do you have to be if Taiwan issues child porn warrants against you?).

At one point, Ray Davies – obviously the focal point of the band – said that he'd been described recently as a homosexual alcoholic. "Well I'd like to make one thing perfectly clear right now. I haven't had a drink in weeks!", and then brother Dave launched into the title track from the Low Budget release.

Regarding the other point… The man was dating Chrissie Hynde, fercryinoutloud!

Another sidebar, which I'm sure someone may have noticed I'm pretty good at. Did you know that while visiting New Orleans, Louisiana in 2004, while Davies and a friend (Suzanne Despies) were walking down a street when a vehicle pulled up beside them, one occupant got out and demanded Despies's purse. She gave him the purse, and the schmuck ran. Davies chased him and got a bullet in the leg for his trouble.

In case you're wondering if justice is alive and well in The Big Easy, it looks a bit dim on that front. Not only was Davies criticized by local gendarmerie, but the aforementioned ‘schmuck’ has admitted his involvement in the crime and the prosecutor’s office has still twice dropped the case. WAY TO KEEP THE BAD GUYS OFF THE STREETS, GENTS! (To be fair, he probably shouldn't have chased the guy.)

OK, back to Americana. It's got an overall cowboy-referenced theme that occasionally pops up, and the songs are generally about what tends to happen as you age. There is inevitably some disillusionment.

That disillusionment can be with regard to personal relationships, your view of other relationships, and your initial beliefs about a person, place, or thing. In the case of Americana, I think Davies addresses all of these things. He begins by chasing The American Dream. And by the time the CD has finished, he realizes that someone somewhere had misunderstood or misrepresented something.

The objective behind the efforts of recording artists is often to "land a deal", and that's what track number two is about. Again, the lyrics show an astute understanding of the situation, which explains the disillusionment there as well.

"Isn't it marvelous, fraudulent, bogus and unreal? Today I'm a bullshit millionaire, feeling really fake. Pretending to be somebody while the credit's good. Go out to LA, strike myself a deal and be part of the American dream."

Vocal ranges approaching tenor have never been Davies's forte, but with his unique interpretations it never really mattered. Higher ranges still seem to be the only area he has any trouble with, and it doesn't seem to have gotten any less apparent with age. Again, it doesn't matter. Any faltering just seems to fit and make the lyrics seem even more like a storyteller as much as a singer. Davies is good at both.

My favorite track – at least for right now – is number three: "Poetry". A relationship just starting out is filled with mystery, excitement, and all kinds of intangibles. Those things are summed up IN "Poetry" AS poetry. He and his significant other spent time reading poetry out loud to each other. Then, she left for a wealthy guy better able to care for her material needs and "…she settled for someone who's not so hard to please; without all the fire and desire and the mystery. But I ask myself ‘Where is the poetry?'"

Keyboardist Karen Grotberg provides backing – and sometimes accompanying – vocals on a few songs. She's got a very good voice, either alone or when played against Davies's voice in their trade-off vocal tunes.

Other tracks and a very brief summary of each (brief, because I don't want to ruin the story, and every track on the CD is incorporated into the story) follows.

In "Message from the Road", the inevitabilities of extended, distant travel and life on the road are discussed, and the message carried in "A Place in Your Heart" is much the same.

"The Mystery Room" is just about life in general: start to (near?) finish. 'Yeah, my heart's still beating. Yeah, there’s no retreating."

A bit of a tip of the hat to an old friend follows in the track "Silent Movie", where the timelessness of music is briefly discussed.

Next up, "Rock 'n' Roll Cowboys on the ol' wagon train. You've had your time but it won't come again." "Your time's passed, now everyone asks for your version of history."

Personally, I think the next tune - "Change for Change" – outlines the progression of do-gooders from the initial phase of honestly wanting to help and trying to help to an eventual phase where they realize the effort is wasted, the point is moot, and now it's about them rather than everyone else.

"The Man Upstairs" is a person who accidentally helped Davies write the song that was rumbling around in his head at 3AM.

Discussed in "I've Heard That Beat Before" is a somewhat soured take on relationships coupled with the fact that no matter where we are or how different we are, we're also all a lot more alike than maybe we want to admit.

"A Long Drive Home to Tarzana" reflects on a drive or a walk or a something we've all participated in that winds up as an uncomfortable companionship – at least for the time being.

Do you have any mistaken ideas about anything? Any dreams you had – impressions of how a thing or a place would be? That's what Davies sorts through in "The Great Highway".

"The Invaders", on the other hand, takes the listener back to what may have been the first great disillusionment of the musician in love with and searching for the great American dream. Give it a listen. You'll see what I mean.

And finally, the 15th track finishes off the latest story in Ray Davies catalog. "Wings of Fantasy" also caps off the story that the whole CD has just told. It's where the end credits would probably run had this been a movie.

I always stick around till the end credits finish. It drives some people crazy, but I always want to see who did what, and I ALWAYS like to see who was involved in creating the soundtrack that set the tone for the movie I just watched.

Davies is able to tell a story and run the end credits without the listener ever having seen a thing. Some people can do that; tell a story with such imagination, feeling, and imagery that you feel like you've seen a movie.

You haven't. You've just been fortunate enough to have heard Ray Davies just doing his thing again.

-Mike Kimmel

Thursday, November 16, 2017

The Crazy Squeeze - Savior of the Streets

Damn you, Crazy Squeeze, for making an album so utterly perfect that I lost sleep over the decision of which tracks I should embed in this review! Savior of the Streets, The Crazy Squeeze's long-awaited sophomore LP, is out now as a digital release with vinyl coming next month on Disconnected Records in the U.S.A. and Wanda Records in Europe. With most albums (even really good ones), I can come up with a pretty good idea of which songs are "the hits". But Savior of the Streets is basically nothing but hits. It's all-killer, no-filler from the opening note to the final strains. And while the "every song's a hit" cliche has been a mainstay of my reviews for years, I will gladly fight anyone who doubts its accuracy in the case of this album!

The Crazy Squeeze is that rare case of a supergroup that's been so good for so long that it no longer feels right to call it a supergroup. These days, we talk less about these guys' other bands and more about the amazing records they've been churning out as The Crazy Squeeze. Comparing Savior of the Streets to the group's self-titled debut from 2012, I hear a band that today has a much more fully developed idea of who it is and what kind of music it wants to make. While the term "pub rock" has definite associations with a specific place and time in music history, The Crazy Squeeze has reinvented the term in a broader sense. Its version of pub rock is the perfect mix of glam-influenced '77 punk and pure old style rock n' roll - with hooks that would be the envy of just about any pop band. Somehow the band sounds both tougher and catchier on this release - a bona fide leading contender for my 2017 album of the year.

With the track selection alternating between Johnny's songs and Frankie's songs, Savior of the Streets is an album that really highlights how well their contrasting styles complement each other. They each bring something a little different to the table, but it all ends up sounding like The Crazy Squeeze. And while this is generally a more cohesive album than the last one, that doesn't mean that every song sounds the same. These 12 tracks cover everything from down and dirty glam rock ("Be Your Dryer") to first rate punky power pop ("Let's Go Down") to raucous barroom rock n' roll ("Blind Truth") to '70s-style arena pop ("Ooh Baby I Love You") to Stonesy street rock ("She's A Runner") to some good, old honky tonk stomp (a robust cover of J Gale Kilgore's cult classic, "Suds"). There's never a dull moment. This, to me, is the kind of rock n' roll your parents always warned you about: oozing with swagger and liable to lead a person towards a life of rule-breaking and unrepentant sinning. Doesn't that sound like tremendous fun?!

I would definitely consider The Crazy Squeeze one of my favorite bands, so I was really looking forward to Savior of the Streets. But even with my high hopes, I must say that I was totally blown away. I wondered if this album would yield any more songs on the level of a "Sexual Activity Girls" or a "To the Lonely Ones". What I got was a whole album on that level! Fellas, you crushed it! This is an instantly classic rock n' roll record! So how did I decide which tracks to embed? Well, you know, I can flip a mean coin.



-L.R.

https://thecrazysqueeze.bandcamp.com/album/savior-of-the-streets 
https://disconnected-records.com/collections/frontpage/products/crazy-squeeze-the-savior-of-the-streets-lp 
https://www.facebook.com/thecrazysqueeze/ 
https://www.facebook.com/DisconnectedRecordsUSA/ 

Tuesday, November 14, 2017

The Sweet Things - "Slather"

It was well over two years ago that I publicly raved about The Sweet Things for the first time. A proper debut vinyl single finally arrived this year, and now we get single #2 from this next great thing in New York City rock n' roll. I'm especially happy about this release because it's the first time I've heard new songs from The Sweet Things in a few years. "Slather" is out on Spaghetty Town Records - an Atlanta label specializing in sleazy rock n' roll. I could not think of a band and a label that are more perfect for each other! The title track is very much in keeping with The Sweet Things' signature sound: dirty, boozy rock n' roll in the vein of '70s Stones, Izzy Stradlin, and early Black Crowes. This is a damn fine song! You get another strong vocal performance from Dave, guitars firing on all cylinders, and terrific work on piano from the great Rob Clores. This track is a fine example of The Sweet Things' ability to draw out a song past four minutes without letting things get dull or indulgent. On the B-side "Dustianne", Dave sings a duet with the outstanding New York soul singer Liza Colby. It's a wonderful pairing, and all in all this is a rocker that you can really feel deep down. You could easily have flipped the order of these tracks, and "Dustianne" would have been a fully worthy A-side. Listen to Lorne wail away on guitar!

Boy, did The Sweet Things ever knock it out of the park with "Slather"! The songs are fantastic, and they sound amazing as well. This is one of the great present-day rock n' roll bands not just in New York, but in the entire world. If you don't already have the "Love To Leave" single on Spaghetty Town, be sure to pick that up as well. Expect to read more about Spaghetty Town Records on this blog in the near future - perhaps as soon as next week!



-L.R.

https://www.facebook.com/thesweetthingsnyc/ 
http://spaghettytownrecords.bigcartel.com/product/the-sweet-things-slather-red-vinyl-bundle 
https://www.facebook.com/SpaghettyTown/ 

Friday, November 10, 2017

The Stanleys - self titled

If you're into power pop, you need to own the debut album from The Stanleys. Seriously: quit reading this right now and go buy it! After hearing the Aussie band's track "Amy" on a recent split with The Dahlmanns, I was immediately blown away and delighted to discover that there was a whole album available as well. It didn't take me long to deduce that "Amy" was no fluke. Hands down, this is one of the three or four best power pop albums I've heard since I've been doing this blog.

What I love about The Stanleys is that they are true power pop classicists. They aren't trying to reinvent a genre of music, but they sure can execute it to near perfection. I have not heard many bands more skilled at crafting exquisite pop hooks and harmonies to die for. Influences run the gamut from founding fathers like Cheap Trick and the Raspberries to numerous new wave era greats to modern masters such as Teenage Fanclub and Matthew Sweet. With its sublime marriage of massive guitars and sweet melodies, this is truly an album that represents what all power pop should aspire to be. "Amy" could very well be a #1 single in some alternate universe where they still play great pop songs on the radio. "Kid's Gonna Rock" might be even better - a rare case in this genre where the power and the pop are in perfect balance. Tracks like "Always" and "Hefner" show off the band's knack for big knockout choruses, while "Cigarette Glow" is that type of song that lodges itself into your brain and refuses to leave. "Say You Will" sounds so much like a lost A-side from the heyday of skinny tie power pop that I half expected to hear the crackling of the vinyl! And while this is generally an upbeat, crank-it-up-and-sing-along kind of album, there are a couple of slower, mellower tracks that really hit the spot. The gorgeous "My World" is a stunning example of mature guitar pop, and the ballad "This Time Goodbye" is total AM gold (think less Raspberries, more solo Eric Carmen!).

This debut album by The Stanleys definitely falls into the category of a treat for power pop fans. If you're not wild about power pop, this release won't turn you to the dark side. But if power pop is your thing, you'll be in heaven listening to The Stanleys. I'm not one to give albums "grades". But if I were, this one would be an A+ all the way!



-L.R.

https://thestanleysau.bandcamp.com/album/the-stanleys-debut-album 
https://www.facebook.com/thestanleysau/ 

Monday, November 6, 2017

Black Mambas - Moderation

Oh boy! A terrific year for punk albums just got even better with the arrival of Black Mambas' second LP. The L.A. foursome has again worked with producer Johnny Witmer - a man who knows a thing or two about high quality pub punk rock n' roll. At just eight tracks, Moderation is an all-thriller, no-filler affair that marries a classic '77 punk sound to high-energy, Chuck Berry inspired rock n' roll. You might see the "punk rock n' roll" description and expect something straight out of the '90s. So it's a really cool twist that Black Mambas are so indebted to first wave punk. My first impression of this band was that they sounded like a cross between Teenage Head and the Buzzcocks circa Spiral Scratch. Does that sound like something I'd be into? You're goddamn right! The lead guitar work is as ripping and rocking as you would expect it to be, and the energy level comes out at a 10 and never lets up. You can really tell that the band made every effort here to duplicate the feel of their notoriously wild live shows. But the songs themselves stand up too - with quality hooks and sing-along choruses that continually make me wanna get off my ass and thrust my fist in the air. What an incredibly fun record! I always love a band that understands that you don't have to reinvent the wheel. With any pretense of originality thrown out the window, Black Mambas are free to focus on just playing exciting rock n' roll. If you love the first Boys album, pub greats like Eddie and the Hot Rods, and Witmer's mighty Crazy Squeeze, Moderation is well worth picking up from Disconnected Records. It leaves me wanting more, which is exactly the way I like it!



-L.R.

https://blackmambas.bandcamp.com/album/moderation-2 
https://www.facebook.com/blckmambas 
https://disconnected-records.bandcamp.com/ 
https://disconnected-records.com/ 

Thursday, November 2, 2017

Sonic Screemers - self titled

It has been well over two years since I went nuts for Sonic Screemers' live demo. I couldn't help envisioning future greatness from this fearsome foursome out of Philly. Yet in the back of my mind, there was always the possibility that a "properly" recorded debut would be disappointing in comparison to the demo. Just shy of three years from the recording of that demo, Sonic Screemers finally released a debut album. Yet even with the move from live two-track demos to a professional studio recording co-produced by Pete Rydberg, none of the energy or power has been lost from the band's music. Far from a disappointment, this is every bit the crackling debut I was hoping for!

Sonic Screemers feature Peter from Jukebox Zeros and Bryan from The Flyswatters on guitar and vocals. As expected, Sonic Screemers combine the best elements of both of the aforementioned bands. You get the blistering punk rock n' roll of Jukebox Zeros and the California influenced punk/surf of The Flyswatters, all smashed together with an East Coast attitude. Five tracks from the original demo have been re-recorded for this release, and they hit just as hard this time through. Sounding like '70s punk played at hardcore speed, opening track "(Don't Wanna Hear) Your Noise" brings to mind the Zero Boys. That's the way to come out swinging! And there's no letup from there. "Jack Lord Almighty" is surf punk with a real bite - probably more akin to Radio Birdman than Agent Orange. Demo favorite "More Money, More Beer" is sing-along old school punk done to minimalist perfection. "Bad Connection" totally hits that classic SoCal punk sweet spot, while "Fishtown Shakedown" takes me back to the '90s heyday of fast and furious punk rock n' roll. And when it comes to pure, in-your-face punk rock, it just doesn't get any better than "No Shit!".

Pure and simple, Sonic Screemers play kick-ass punk rock. On their debut album, they power through nine tracks in less than 19 minutes with absolutely no screwing around. Peter is absolutely one of my favorite vocalists for this style of music - his take-no-shit style perfectly suited to the city he inhabits. And he absolutely kills it on lead guitar! I dig how he and Bryan complement each other in this band. Regardless of who wrote/sang each song, you can expect the same level of quality all the way through. I'd been looking forward to this album for a long time, and I doubt I could be any more pleased with it. The songs, the performances, and the production are all totally on-point. Given the name of this blog, I sometimes worry that I let it lean just a little too much in the pop direction at times. So for those who would (probably rightfully!) accuse me of false advertising, I offer you the mighty Sonic Screemers. Push play and crank it loud!



-L.R.

https://sonicscreemers.bandcamp.com/album/s-t 
https://www.facebook.com/SonicScreemers 

Wednesday, November 1, 2017

Australia Rocks!

By Mike Kimmel

City of Angels or Angel City? Angel City or City of Angels? I'm so confused!

Or not.

Oz? The Land Down Under?

Men At Work?

Diesel Injectors?

What I'm doing here is a quick little ditty about some of my favorite bands from Australia. They come up with some good musicians. In this piece, I'm only talking about the bands I think there's a high likelihood you've never heard of. So I ain't a-gonna talk about Angus Young and AC/DC.


One of the bands I AM going to talk about is Angel City or The Angels. Nope, no AC/DC in this article. Though in Angel City's (arguably) biggest hit, "Marseilles", you might just recognize a refrain or two from an AC/DC tune. That song is the reason I got highly addicted to the band.

Many years ago, I was fortunate enough to see the band at a fairly large nightclub in the Chicago area (I can't recall the name, but I also saw Montrose, Black Cat, Savoy Brown, Steve Marriott, and Humble Pie at the same club).

Brothers Rick and John Brewster on guitars. John stood off on the left side of the stage and didn't move from that spot while handling the lead guitar duties. I found out later that the reason he stayed stationary during shows was because "Beethoven convinced me not to move".


John, on the other hand, was constantly waltzing (Matilda – see what I did there?) across the stage from side to side.

Lead singer Doc Neeson somehow came up with a white sheet that he draped over himself. With the bright light located low near the back of the stage, he really looked kinda eerie. Then, instead of running around the stage, he jumped off of the stage and onto a table near the front of the stage. From there he proceeded to jump from table to table, still singing and still covered with the sheet.

 I remember two thoughts prevalent in my mind:

#1 – I hope he doesn't fall 'cause he'll get killed, and

#2 – I hope WHEN he falls, he doesn't fall at MY table because I'LL get killed!

He never fell, though, occasionally doing an amazing job of maintaining his balance as the tables rocked a bit when he landed on it. Here, he's helping a female fan up onto the stage with the band after his table dancing expedition.


Here's "Take A Long Line" from a 1978 performance – probably my favorite Angel City tune:



Their biggest US hit, "Marseilles":



Angel City's release Face To Face is listed at #64 on The Top 100 Australian Albums – a book by Toby Creswell, John O'Donnell, and Craig Matheison.

I'm not going to talk about Men At Work, even though it points out the occasional poor judgment exhibited by big business as the band's label (Columbia Records) rejected their release Business As Usual twice before finally releasing it. That album was kind of a big deal for the band, going platinum x3 in Australia, platinum x4 in Canada, platinum in the UK, and platinum x6 in the US. Platinum status is given to releases that sell a million copies.

The album also attained #1 status on the Billboard album chart as well as the track "Down Under" from that album reaching number one on the singles chart simultaneously. The album was in the top 100 for 15 weeks in 1983 and won a Grammy that same year.


I'm going to talk about Rose Tattoo. As with The Bus Boys, you may not have heard of Rose Tattoo, but if you saw the Mad Max film with Tina Turner, you've seen the lead singer of Rose Tattoo, Angry Anderson. He was the shorter, bald guy running around Turner in the dome-like cage in the desert.

Here's a clip of Rose Tattoo performing what is still my favorite Tattoo-tune, "Nice Boys (Don't Play Rock & Roll)".



A little AC/DC note here as well as with Angel City: Harry Vanda and George Young produced the first four Rose Tattoo releases. If you're as much of a music geek as I am, you'll recognize that Vanda & Young also produced many of AC/DC's releases.

I got Rose Tattoo's first album when I still bought music based on several factors, one of which was what the cover art looked like. I did that for Uriah Heep – Demons and Wizards and wound up being a Heephead deluxe.

Rose Tattoo's debut album is listed at #92 on The Top 100 Australian Albums. Sony Music released a 5-CD compilation in support of the book.

Tattoo has toured often since its inception in the late '70s. The band has supported such acts as Motorhead and Guns & Roses through its history. The band has worked through the usual share of comings and goings of members throughout the years and had plans for a new album and a new tour in 2006. That was canceled when original guitarist Peter Wells died of prostate cancer.

The original Tattoo bassist – Ian Rilen – died of bladder cancer later in that same year.

Lobby Loyde – bassist who took Rilen's place – died of lung cancer the next year.

Original guitarist Mick Cocks died of liver cancer in 2009.

Including drummer Dallas Royall losing a battle with cancer in 1991, that makes five former Tatts who have died of some form of cancer. Strange that in an interview I saw with Angry Anderson years ago, the interviewer asked him if he was ever nervous before going on stage. Anderson replied "Nervous? I'm scared shitless! You never know how it's gonna go or even if this show is gonna be your last."


The last Aussie band I'd like to mention here is Johnny Diesel and the Injectors. Mark Denis Lizotte – a.k.a. Johnny Diesel – was actually born in Massachusetts, but his family moved to Australia in the early '70s.

Another example of "It's a small world, ain't it?" shows up here as Johnny Diesel & the Injectors were managed early in their career by Angel City's drummer Brent Eccles. Here's a clip of the band doing my pick of one of the three or four favorites they do – "Don't Need Love".



And another of the band doing "Parisienne Hotel". Gotta love a song with lyrics like: "Parisienne Hotel. There's a hole in the wall from a shotgun shell. You're either buying or you sell at the Parisienne Hotel."



Between 1989 and 2011, Diesel has released 15 albums, three DVDs, received the ARIA (Australian Recording Industry Association) Award for Best Male Artist in 1992, 1993, and 1995, and also the ARIA Award for Best Album with his second studio release from 1992 – Hepfidelity. The album hit #1 on the Australian charts.

In fact, of the 15 releases from Diesel, 12 have charted in Australia in the Top 100, and eight of those have been in the Top 20!

Finally, when Dweezil Zappa embarked on his Zappa Plays Zappa tour, guitarist Ray White started with the tour in 2007. He had played with Dweezil's father, the late Frank Zappa. White left the tour in 2009 – reportedly resigning via email – and Johnny Diesel/Mark Lizotte filled in on the Australian leg of the tour on guitar and vocals.

That's it for the tour of some of the best Australian bands you're not listening to. Trust me – you're doing yourself a great disservice if you're not listening!

Interestingly, I've heard of the vast majority of the bands and releases listed in The Top 100 Australian Albums. But even more interestingly – surprisingly, even – I own 20 of those listed. They are:

AC/DC - Back in Black
Easybeats - The Best Of
Skyhooks - Living in the 70's
INXS – Kick
Radio Birdman - Radio Appears
Bee Gees - Best of
The Saints - I'm Stranded
Split Enz – True Colours
Nick Cave Bad Seeds – The Boatman’s Call
Savage Garden – Savage Garden
Mental as Anything – Cats & Dogs
Models – Pleasure of Your Company
AC/DC – Highway to Hell
The Angels – Face to Face
Billy Thorpe & the Aztecs – Live at Sunbury
The Vines – Highly Evolved
Nick Cave and the Bad Seeds – Tender Prey
Jet – Get Born
Rose Tattoo – Rose Tattoo
Men at Work – Business As Usual

-Mike Kimmel

Monday, October 30, 2017

The Control Freaks - "No Action"/"Don't Mess With Jessica"


It pretty much goes without saying that The Control Freaks are the best thing to happen to garage punk music in a long time. The band's debut album on Slovenly was absolutely the instant classic I expected it to be. If you don't have it yet, go get it! If you do have it and crave more, The Control Freaks have followed up with a double shot of new singles on Bachelor Record Company. Of course this shit is hot, and it's all previously unreleased!

I think it has to be intentional that The Control Freaks' initial releases have been with two of the labels most responsible for keeping real garage-punk alive in the 2010s. If you go to order the new singles from the Bachelor store, you'll see a totally spot-on rant about what most people think "garage punk" is in 2017 versus what it meant in the '90s. That line about Ty Segall made me laugh so hard that I almost snorted unsweetened tea through my nose. The Control Freaks are the genuine article, and both of these singles are essential additions to the catalog of Greg Lowery fronted bands. "No Action" throws it all the way back to the budget rock stylings of Supercharger. It's catchy and rockin' without going overboard on the tempo. What a banger! I will not judge you if you decide to call in sick and play the song on repeat all morning. It's definitely the kind of tune that will make you wanna dance around the house in your underwear. Once you're finally ready to flip the record, a robust version of Protex's "I Can Only Dream" awaits on the B-side.

The second of the two singles is called "Don't Mess With Jessica". Again, this is a perfect example of garage punk the way it ought to be. Right down to the primal three-chord thumping and exuberant co-ed vocals, this could legitimately pass for a long-lost Rip Off Records track circa the mid-to-late '90s. Once you make it through this song, you will have abandoned any lingering temptations to mess with Jessica. And how about another cover from the heyday of punk/powerpop? The Control Freaks have at The Rousers' "Rock N Roll or Run", and I have a feeling thay a lot of people will now be heading off in search of the original.

So I guess you could be a cheap skate and buy one of these two singles based on which A-side you like better. But come on. It's The Control Freaks. Buy both and listen often! Make garage punk trashy again!


-L.R.

http://shop.bachelorrecords.com/ControlFreaksNoAction 
http://shop.bachelorrecords.com/ControlFreaksJessica 
https://www.facebook.com/ControlFreaksSF/ 
https://www.facebook.com/bachelorrecords/ 

Wednesday, October 25, 2017

Suspect Parts - Self Titled

After a decade as a band, the international supergroup Suspect Parts finally has a full-length album to its credit.  And it's an absolute must-buy if you're a fan of powerpop/punk! The band is Justin Maurer (Clorox Girls, Maniac) and James Sullivan (Ripchord) on guitar and vocals, Chris Brief on drums, and Andru Bourbon (Radio Dead Ones) on bass. With Maurer's name on this project, you would not be wrong to expect music influenced by the poppier side of first wave punk rock with a particular emphasis on southern California. But this band is a true collaborative effort that highlights the talents and influences of all of its members. Musically and lyrically, Maurer and Sullivan both bring phenomenal songs to the table. And all in all, Suspect Parts really set themselves apart from most of the bands playing this kind of music today.

Suspect Parts describe their music as "a cotton candy meets razorblade concoction that goes down surprisingly smooth". If you're thinking that sounds like something I'd be totally into, I'd say you're very correct! But while Suspect Parts completely hit the sweet spot for powerpop/punk, they bring something really unique to the style. They're far more '60s-inspired than just about any band you'd think to compare them to, and they manage to take all of their influences and bring them into the now. Out on Taken By Surprise Records in Germany and Oops Baby Records in the U.S., the band's self-titled debut LP is without question one of this year's finest. The album sets a tone with a terrific 1-2-3 punch of textbook powerpop/punk ("Madmen With Guns",  "Electrify Me Honey", "Live Over There"). But just when you think you know exactly what this record is going to be, it starts to take wonderfully surprising turns. "Alright With Me" and "Run For Your Life" dial back the punk influence and prove that Suspect Parts can craft finessed pop songs as well as anyone. The latter just might be the high point of the album - a song that manages to feel epic even with a running time under three minutes. "Change Your Mind" is a perfectly executed stab at a punked-up Beatles, while "Out of Place" delivers the heart-racing jolt you'd hope to get from a band with a Briefs and Clorox Girls pedigree. And "No One From Nowhere" has a neat new wave vibe and features some of the most honest and powerful lyrics I've heard in quite some time.

Two Americans, a Brit, and a German walked into a recording studio on a sub-freezing January day in east Berlin: sounds like the start of a joke, right? But actually it was the start of something special. I would imagine it's difficult for a band to get together when its members are separated by oceans. But I'm glad these gentlemen went to the trouble to get an album made. This release may have been a long time in the making, but it sure delivers the goods! Is this punk rock for people who love pop, or is it pop for people who love punk rock? I'm not quite sure! Those of you in Europe should be sure to catch the band on tour beginning tomorrow!



-L.R.

https://takenbysurpriserecords.bandcamp.com/album/suspect-parts-lp 
https://oopsbabyrecords.bandcamp.com/album/suspect-parts 
https://www.facebook.com/SuspectParts/ 

Friday, October 20, 2017

Corner Boys - "Just Don't Care"

Holy smokes, do I have a banger for you today! Back in March, I identified Corner Boys as a band of considerable promise based on their demo tape. Little did I know that Drunken Sailor Records was already on the case, and today we have an official release from this formidable Vancouver trio. It's a knockout debut and quite possibly the best punk EP I've heard all year.

With me having spent a great deal of my career touting bands that do newer versions of '70s punk, there was just no question that Corner Boys were my kind of group. But honestly, Corner Boys sound less like a 2017 update of Canadian powerpop/punk circa 1979 and more like the genuine article. Listening to this EP, I'm half-convinced that it really was recorded in 1979! There's just something about the production and the tone of the vocals that brings to mind the likes of Pointed Sticks and Young Canadians - or even Irish counterparts like Undertones and Rudi. This is punk rock just the way I like it: charmingly unpolished and brimming with youthful energy, but still chock full of hooks. Each of these three tracks could have been an A-side in its own right. The highest compliment I can pay to "Joke of the Neighborhood" is that I thought it had to be a cover when I heard it on the demo. It sounds that much like a long-lost classic. So if it seems well-positioned as the third track on this EP, that tells you how good the other two songs are! On any given day, I'd say that "Just Don't Care" is the clear "hit". And then on the next day, I'd change my mind and go with "Be Seeing You"!

"Just Don't Care" is a darn near perfect punk record. I love the sound, I love the energy, and I love the songs. Corner Boys are my favorite new band of the year by far!



-L.R.

https://drunkensailorrecords.bandcamp.com/album/just-dont-care-7 
https://cornerboys.bandcamp.com/
https://www.facebook.com/CornerBoysBC/
https://www.facebook.com/DrunkenSailorRecords 

Wednesday, October 18, 2017

Various Artists - Neon Maniacs

I'm usually not nuts about various artist compilations. Too often you wind up with bands' crap songs that they didn't like enough to put on a real record. Or you get a ton of previously released stuff - which seems pointless. That's why the annual Girlsville comps are something I look forward to. They are always filler-free and comprised almost entirely of exclusive tracks. Neon Maniacs, like its predecessors Stupid Punk Boy and The Wild Angels, was released in conjunction with Cassette Day. Neon Maniacs is a co-release with Nerve Centre Records - another one of my favorite labels. Given that these two labels have similar musical visions, fans of the two previous Girlsville comps should not fear any drastic changes. Again you can expect a whole lot of primo garage cuts along with plenty of punk, indie pop, post-punk, and power pop goodness. Girlsville regulars Purple Wizard, The Prissteens, Coachwhips, and Mr. Airplane Man all make appearances along with Nerve Centre's own Red Cords, Murph and the Gazorpos, and The Hipshakes. From outside of these two labels' rosters, you also have the likes of The Darling Buds, honeychain, Germ House, Zig Zags, Virvon Varvon, The BV's, and many more. All in all, you get 18 tracks from 16 different bands.

I've been fired up for Neon Maniacs for months because I knew it was going to include honeychain's cover of Material Issue's "Going Through Your Purse". Considering that the original is my favorite song by one of my favorite bands of all-time, I knew that nothing less than a knockout version would impress me. But I've got to say: honeychain really nailed this song! I was not disappointed. Similarly, the legendary Darling Buds have a go at "Our Lips Are Sealed" and do an amazing job of it. Inspired by Sonic Youth's cover of The Carpenters' "Superstar", this is a creative and fully unique interpretation of the Go-Go's/Fun Boy Three classic (probably more similar to the latter's version). Other highly interesting covers on this comp include Zig Zags tearing into M.O.T.O.'s "Choking On Your Insides" and the mysterious Nuclear Brown tackling Devo's "Mongoloid".

As for the original songs on this release, there are several really good ones. Murph and The Gazorpos again light it up with some red-hot power poppin' rock n' roll. Virvon Varvon's "Trouble" reminds me how much I like post-punk when it's done really well. The BV's hit the shoegaze/dream pop sweet spot with "The Sheep Look Up". Stix Champion & His Trophy Band deliver some budget proto-punk on "Be A Kid When You're a Kid". "Stormy Weather" is a gem of a demo from The Prissteens' later years. And The Red Cords' "Supermarket Horror" is an absolute crackler from one of the U.K.'s best current garage/punk bands.

At just $7 for a download, Neon Maniacs is a great way to discover a lot of cool bands for not a lot of money. If you're into cassettes, Girlsville and Nerve Centre have just 75 copies each for sale in the U.S. and U.K. respectively. I also recommend digging deeper into both of these labels' catalogs. So click the links below and discover some great music!



-L.R.

https://girlsville.bandcamp.com/album/v-a-neon-maniacs 
https://www.facebook.com/GirlsvilleRecords 
https://nervecentrerecords.bandcamp.com/ 
https://www.facebook.com/nervecentrerecords/ 

Saturday, October 14, 2017

The Prissteens - Demos and Rarities Volume 2


I never dreamed there would ever be a sequel to last year's completely essential Prissteens Demos and Rarities collection. Yet here I am at this very moment staring at Volume 2. Christmas came early this year!

I suppose it would be more correct to refer to volume 2 as a prequel. Volume 1 was largely made up of demos for songs that were intended for that second Prissteens album that never came to be. Volume 2, on the other hand, features demos the band recorded in advance of Scandal, Controversy, and Romance- its first (and sadly, only) album. More polished versions of a couple of these tracks wound up on the LP, while a few of these songs are being heard for the very first time after 20 years in the vaults. Girlsville is once again responsible for unearthing these lost treasures, and Courtney did an amazing job of combing through the demos and selecting only the absolute cream of the crop. What results is an all-killer, no-filler affair packaging the best of The Prissteens' pre-album demos with the B-sides from the band's early singles and a Christmas song that was previously available only as a download.

Was the "big" production of Scandal, Controversy, and Romance ill-suited for The Prissteens, or was it exactly what the band needed? While fans seem to be divided on this point, there's not much denying that the difference between indie era and major label era Prissteens is like night and day. This collection bridges those two eras. If you've ever wondered what the songs from the album would have sounded like if they'd been produced like the earlier singles, demo versions of  "Someday" and "I Don't Cry" will provide a definitive and satisfying answer. If you weren't familiar with the Prissteens and just heard "I'm A Mess", you might think you were encountering forgotten garage rock greats from 50 years ago. And after one listen to "You're Gonna Lose", I was immediately baffled as to how this song could have been lost to the world for two decades. It's the absolute perfect mix of punk rock and girl group inspired pop. As I listen, I imagine that the ghost of Joey Ramone is smiling beside me and imploring me to turn it up louder.

The Prissteens were one of New York City's finest punk groups of the '90s - or any decade for that matter! If you're looking for a proper introduction to the band, either volume of Demos and Rarities is a fine place to start. Volume 2 is the leaner and meaner of the two and comes with essential bonuses like the Richard Gottehrer produced "Christmas Is a Time for Giving" and the band's wonderfully NSFW treatment of the Undertones' "Teenage Kicks". If you own volume 1, you're gonna need to have volume 2 as well. Otherwise I'll just tell you to quit screwing around and go buy 'em both!



-L.R.

https://girlsville.bandcamp.com/album/the-prissteens-demos-rarities-volume-2 
https://www.facebook.com/GirlsvilleRecords 

Friday, October 13, 2017

Indonesian Junk - Stars In the Night

I've mentioned it before that Indonesian Junk's second LP was one of my most highly anticipated albums of 2017. Between the long wait since the first album (released 20 months ago) and Malibu Lou's continued guarantees of face-melting greatness, I had good reason to expect a great deal from Stars In the Night. With the album now officially out, I can tell you that I was not disappointed. In fact, I'd say my expectations were actually exceeded. This is up there with the top three or four albums of a really great year. If you dig the same type of stuff that I dig, I imagine that you will be quite keen on this release as well.

It's not that there's anything radically different about Indonesian Junk this time out. The Milwaukee trio continues to mix glam, power pop, and old New York punk influences in such a way that doesn't sound like any other band out there. But man oh man, Daniel James and company have absolutely knocked this record out of the park! This release was far more "professionally" recorded than the last one. That could have been a good thing or a bad thing, but it definitely turned out to be the former. And in an entirely good way, this album really plays to Daniel's knack for writing terrific pop songs. If anyone is still questioning whether or not it's possible to create poppy punk rock that sounds genuinely tough, Stars In the Night will show you how it's done. Propelled by irresistible guitar hooks and a chorus you just have to sing along with, "I Would Never Treat You Like That" is as catchy as anything you'll hear all year. The same could be said of "I'll Run Away" - a number so energetic and hook-laden that any resultant head-bobbing may lead to severe neck injuries. "Tonight" is the closest Indonesian Junk has ever come to a pure power pop song, and "Turn To Stone" is first class solo Stiv Bators worship. But while the poppier songs on this album are amazing (good luck getting "Why Did I Call You" out of your head anytime soon!), that's only the half of it! "Stars" is a loving tribute to Nikki Sudden and quite possibly the best song Daniel has ever written. "Nosferatu" will have you going from "What the fuck is this?!" to "This is goddamn brilliant!" within one listen. "Slow Down"  is like a sonic teleportation to the hey day of Max's Kansas City. "On The Run" is a wonderful closing ballad that brings to mind '70s Stones and Johnny Thunders.

There's honestly no other band out there quite like Indonesian Junk. In a scene full of way too many sound-alike artists, Daniel James is one of those rare genuine originals. He's good real personality, a flair for quality songwriting, and insane guitar skills. The very first time I heard his self-recorded demos for Indonesian Junk, I knew he was onto something good. And the records have continued to get better and better. With bassist Johnny Cyanide and drummers Mike Mattner and David Barootian, James has found the perfect musical partners in crime. Stars in the Night is everything I love about '70s punk, glam, pop, and good old filthy rock n' roll all rolled together and spat out in a wonderful and totally original way. Lou, you were right as always!



-L.R.

https://rumbarrecords.bandcamp.com/album/stars-in-the-night 
https://indonesianjunk.bandcamp.com/ 
https://www.facebook.com/indonesianjunk/ 
https://www.facebook.com/RumBarRecords 

Wednesday, October 11, 2017

The Dahlmanns/The Stanleys - split 7"


Any time we have the "best band in the world" conversation, The Dahlmanns have got to be in it. I can't name a single release from these Norwegian national treasures that I don't flat-out love. That very much continues with the band's latest release - a split 7" with Aussie power poppers The Stanleys. This is The Dahlmanns' third single on Beluga Records and whopping 11th overall.   

The Dahlmanns' contribution to this split is "Conny Converse" - which is nothing less than the total pop smash you would expect it to be. Line's voice is in lovely form as usual, and those harmonies are just so on-point. Top it all off with an absolute gem of a guitar solo, and you've got yourself a hit! It takes a truly formidable band to be able to hang with The Dahlmanns, and The Stanleys prove to be very much up to the task. They play an ultra-punchy, super high energy brand of power pop that's practically their birthright as Australians. Their contribution to this split, "Amy", sounds like a radio hit from a time when they still played radio hits on the radio. The song is also available on the band's brand-new debut album - which I plan to review in the very near future.

This Dahlmanns/Stanleys split is such a treat because it brings together two of the top bands in all of power pop. They sure make a perfect pair! Order the split directly from Beluga Records. "Conny Converse" is also available in digital form from Apple Music and Spotify! 



-L.R.

https://www.facebook.com/thedahlmanns/ 
https://thestanleysau.bandcamp.com/ 
https://www.facebook.com/thestanleysau/ 
http://punkrecords.se/ 

Tuesday, October 10, 2017

The Safes - Tasty Waves


Having been one of America's great rock n' roll treasures since the early 2000s, The Safes are one of those bands you can always count on. There is no such thing as a bad Safes record, and the band's rep as a live powerhouse has been hard-earned and well deserved. This is one of the few bands I can name that has remained in peak form throughout each of the last two decades. And so with the recent release of The Safes' fourth album Tasty Waves on Hidden Volume Records, I braced myself to be wowed. I was not let down.

The Brothers O'Malley - Frankie and Patrick- have been constants in The Safes lineup since day one. The current incarnation of the band is rounded out by Dex Fontaine (drums) and Curt Schmelz (bass). While the band still occupies that general space where garage rock and power pop intersect, Tasty Waves definitely continues the '60s-inspired songwriting direction of 2014's outstanding Record Heat. And here's what I love about this band: while the influence of the Beatles, Beach Boys, Kinks, etc. is all over Tasty Waves, this is not even close to a "revivalist" record. It's modern-day garage pop with classic inspirations. 

While The Safes are particularly known for their high energy live shows and guitar-heavy recordings, it's really the songwriting that steals the show on Tasty Waves. Frankie O'Malley wrote nine of the ten tracks and co-wrote the other with his brother Patrick. With this album, I've really taken notice of his skill as a lyricist. His wordplay is clever and often highly acidic/satirical. In other spots ("Crystal Ball", "Mind Of Its Own"), he comes off genuinely reflective. And "Streets and Sanitation" is some of the most compelling lyrical poetry I've come across in a while. While the melodies are strong enough to make even casual listening enjoyable, there's a lot to be gained from sitting down with the lyrics and digging deep into these songs. I don't think there could be a more spot-on lyrical couplet for 2017 than "I'm the guy whose eyes are not glued to his phone/And I'm so glad to know that I'm not alone".

With this particular set of songs, we get a Safes album that feels quite different from its predecessors. I'm not sure I want to use the dreaded "mature" description, but the absence of any obvious full-throttle rockers really emphasizes craft over crackle. Of course there's more than enough punch in the band's attack, and the songs remain lean at a total running time of 22 minutes. But standout tracks like "Hometown", "Crystal Ball", and "Nobody Cares Anymore" are true triumphs of skillfully woven melodies and highly creative songwriting. I'm especially impressed with the subtle touches that bring timeless '60s pop into the modern age. Front to back, The Safes have never delivered a better collection of songs. And the album just sounds amazing - the band working with producer Brian Deck to achieve a warm and wonderfully rich fidelity. Tasty Waves, like everything else The Safes have done, is an essential purchase.



-L.R.

https://thesafes.bandcamp.com/album/tasty-waves 
https://www.facebook.com/thesafesmusic 
http://hiddenvolume.com/ 

Monday, October 9, 2017

Cheap Trick review series: One On One

Review by Mike Kimmel

I'm frequently amazed at how quick some folks are to pan a song or an album or a band because what they've done just doesn't quite fit with what that person wants or expects. It amazes me even further (and removes a good deal of what little credibility some major music mag reviewers might have once had) when it's obvious that the previously mentioned dork hasn't even listened to the song/album/band.

This is a Cheap Trick review, but the first example that jumps into my head was when KISS members released their simultaneous solo albums years ago. Paul Stanley had a song on his solo that was titled "Love in Chains", which the reviewer claimed, was "…another typical KISS bondage tribute…" or something to that effect.

Oh yes he did, and oh no it wasn't.

After browsing my Cheap Trick archives in search of the next release to discuss, I found my attention directed to the release immediately previous to 1983's Next Position Please – 1982's One On One. This was the first album to feature Jon Brant on bass to replace the recently departed Tom Petersson. After briefly reinstating bassist (who was actually a guitarist, but who's counting) Pete Comita, who had been a band member years previous, he was canned… AGAIN… in favor of the somewhat well-known Chicago area bassist Brant.

I never got to see Cheap Trick in concert with Brant. But I DID get to an in-store record signing for One on One, and Brant was there with Nielsen, Zander, and Bun E. Carlos. For the record, Nielsen and Carlos were somewhat aloof, shall we say, while Zander and Brant were very friendly and accessible; Zander actually took time to pose for a few pictures away from the rest of the band.

Now Brant is recording with Cheap Trick, and One On One is released. Zander is often accused of screaming his way through some of the songs on the release. On the opening track "I Want You", yes he does – quite a bit.

So?

Talented vocalists can pull off a variety of different sounds just as guitarist and bassists, etc., can. Robin Zander is arguably one of the best singers in rock and roll, and though he's lost some of his hair to age, he hasn't lost a whole lot of that range. He can do an amazing range of things with his voice, and occasionally screaming is one of them.

Spoiler alert! He does the same thing on track five ("Looking Out For Number One") and track nine ("Love's Got a Hold On Me"). He maybe doesn't do it to quite the same degree as in "I Want You", but maybe what the song needed was different?

By the way… Do you know how many other musical endeavors have been titled "I Want You"? I did a very brief search and came up with 155 songs with that title. Well, 148 with that title in English, one in German, one in French, one in Spanish, one in what appears to be Czech, and three in an Asian font.

That's not counting six albums with that title (one each by Booker T., Marvin Gaye, Wilson Pickett), three films, and 11 tunes in which the title starts with "I Want You". Maybe they wanted THEIR version to stand out from the crowd!

Not that I'm defensive or anything.

Second track is the title track and features an oft-cited lyric used to bash the Tricksters: "Reputation is a fragile thing". Having been together for 40+ years as the same band (one glaring omission set aside for another time), releasing 18 studio albums, two EPs, six live releases, appearing on 17 compilations and 21 movie soundtracks, releasing 57 charting singles and seven videos/DVDs, I'd say their reputation is fairly safe.

One of those singles was "If You Want My Love". Featuring a break that could be a first cousin to that of "While My Guitar Gently Weeps", it peaked at #11 on the US Rock chart and number two on the Australian charts. It's one of the slower ballads the band has done, and like the majority of them, it charted. It didn't hit as high as "The Flame", which reached number one on the US charts. But #11 ain't bad either.

"Oo La La La" follows, and it's a kinda short little semi-nonsensical rocker that can hang with the best that the band has done and, as with many of them, I have no idea what this one is about but it's fun to listen to.

"Lookin' Out For Number One" is another one where Zander screams the lyrics on occasion, so if you find that off-putting consider yourself warned. "I got hot but never got burned" is one of the interesting lyrics in the fifth track, which is describing another relationship malcontent. The next verse expounds further: "When I'm hot she says she's not. Don't get too close, she's over the top. Think by now, well, I would have learned. She's all talk. I really got burned."

"She's Tight" follows at track number six and is not only one of my favorite songs from this release – it's one of my favorite Cheap Trick tunes. "You floated in. We floated up. Through the window and down the hall. I had a smoke and went upstairs. Turned the door and I opened the key. She spoke… 'I'm on my own. Home all alone.' So I got off the phone!" Yep. Still love it!

The shortest song on the album follows at number seven. "Time is Runnin'" clocks in at only 2:20 and features… Wait. Really? No lead part for anyone? I do like the verse that says "Here comes the night. Gone are the days, yeah, when we could just sit here and talk for hours. Didn't have much to say".

For those keeping track, the eighth cut – "Saturday at Midnight" - is only the second weirdest track on the album ("I Want Be Man" takes that trophy home all by its lonesome.). "Saturday at midnight. See you at the red light (bad scene, man). Don't wanna be alone." It's a little odd, but that only reinforces the fact that you're listening to a Cheap Trick album, right?

Another Zander screaming fit! Hold on to your earlobes! "Love's Got a Hold On Me" is another rocker in the best Trick style, and it's another tune that gets going, gets the job done, and then it's on to the next track. Only 2:36 in duration, the band packs a good deal of rock as they roll through track number nine.

I mentioned that "Saturday at Midnight" wasn't the strangest tune on the One On One release from Cheap Trick. No, they saved that distinction for the tenth track of the 11 on the album, and that diagnosis goes to "I Want Be Man". 

After the opening where the odd, modulated drums frame the muffler, staccato guitar and the chorus of "I want be man. I want be man. I want be man. I want be man", you have a description of (what I think is) sometime in the future when there are robot servants, illustrated by lyrics like "I don't like living inside this metal plastic shell".

Things are changing based on the desires of the masters. "Hey I don't like livin' in this fleshy human shell. As much as I abuse it, it's really gone to hell."

Then there's an exchange of thoughts between human master and robot servant. It's kind of a lengthy lyric quote here, and I apologize but it's entirely necessary and pretty much fun. Besides, I really don't have any trepidation when quoting lyrics in a review. While it's true that good music can make bad lyrics tolerable, it's also true that interesting lyrics can move a marginal song onto your favorites list.

The "marginal" thing doesn't apply here. "I Want Be Man" is a fun song, and as I've said before… I've come to be entertained and not convinced!

"I'd rather be a robot so I don't have to think. 'Cause then I could be programmed where I don't have to dream. I'd rather be a man, instead of a machine. Flesh and blood life and death. It's a mystery. Nothing to be programmed. Nothing is for sure. And least there's a reason… A reason for my life. I want be man. You want be me."

The album winds down with "Four Letter Word". Another relationship quandary in which someone screwed up big time and now has to come groveling back. Part of the reasoning involved is "It's alright; it takes two to make it love. Cause love can be just a four letter word. A four letter word". 

I've seen some folks list this release as their favorite Cheap Trick studio album. And though I can't count myself among them, it's a respectable effort and is 100% Cheap Trick. Many of those choose One On One specifically over Next Position Please. Again, I can't count myself in that group.

Of the six Cheap Trick releases in the 1980s, One On One would likely be listed as either my second or third choice as favorite from that decade. Next Position Please would have to be the first favorite, followed by either One On One or All Shook Up – and that order would probably swap positions for #2 or 3 depending on my mood at the time.



-Mike Kimmel

Saturday, October 7, 2017

The Next Big Thing 40th Anniversary Issue

Being one who came up in the world of do-it-yourself print zines, I have tremendous affection for those venerable publications that paved the way. Of those, Lindsay Hutton's The Next Big Thing was one of the first and without doubt one of the most legendary. It was certainly the first U.K. fanzine to be largely inspired by American punk rock. Named, of course, after the opening track from The Dictators' debut album Go Girl Crazy!, The Next Big Thing debuted in April of 1977. It eventually spawned a record label and continued as a print fanzine for an amazing run of 20 years. The entity lives on today over at nextbigthing.blogspot.com. If you're looking for a good feel for what the magazine was about, consider that the premiere issue featured extensive write-ups on The Dictators, The Damned, Blue Oyster Cult, and Television in addition to an article on the musical origins of punk rock. Over the years, Hutton championed standouts of the punk, new wave, and rock n' roll scenes - many of whom were largely unknown by the masses. In today's world where information about independent bands is so readily available on The Internet, it's easy to forget how vital fanzines like TNBT were to punk music in its early days. Imagine coming across an issue in the late '70s and having your life forever changed by seeing a Ramones record review or an ad for Bomp! Records!

With this year being the 40th anniversary of the debut of The Next Big Thing, Hutton endeavored to mark the occasion in a special way. He revived both the zine and the label, releasing The Dahlmanns (with Andy Shernoff!) "Forever My Baby" 7" and an anniversary print edition of TNBT. I had the pleasure of reviewing the 7" back in March, and I still maintain that it's the best single of 2017.

As for the print mag, it's really a delight to hold it in my hands. I stopped doing print zines over a decade and a half ago - in part due to the enormous expense involved and in part due to my reluctant adaptation to changing technologies. But I have to admit that there's just something incredibly cool about print (even in this age when our "devices" make digital publications equally portable). Hutton opens the issue by stating his concern that it might come off like a once great band's lesser "new stuff". But essentially this issue is classic TNBT - replete with a heartfelt opening rant, a nifty four-page spread on The Dahlmanns, an autobiographical piece by Amy Rigby, a feature on the Funtastic Dracula Carnival music festival, a previously unpublished short story by J.D. King, a write-up on The Schizophonics by Long Gone John, and a few pages of reviews. The 2017 version of TNBT very much resembles its younger self - with its focus on bands and artists who are highly worthy of attention yet unlikely to ever receive it from the "proper" press. The passion that went into this issue is palpable. 

This special print issue of The Next Big Thing proved to be a great success, with all 300 copies already gone. A few (packaged with the 7") remain available from Soundflat's on-line store, so move fast if you want one! I admire that Hutton wanted this issue to only be available as a print magazine, and its warm reception says a great deal about the enthusiasm of our international punk rock community. Hutton was never going to profit financially from this endeavor, yet he went ahead and did it because he really wanted to. For 40 years, he's done what I attempt to do myself - spread the gospel about great music and hopefully turn people on to bands they'll come to love. I was honored and humbled that he thought me worthy of a promo copy. If you're not doing so already, I highly recommend you follow his activities via his blog and check out the digital archive of TNBT back issues. It's incredibly fascinating to go back and read Hutton's coverage of 1977 punk music that was written just as this music was coming out. Below I've embedded Hutton's recent appearance on John Cavanagh's Soundwave - which is required listening in my book!



-L.R.

http://nextbigthing.blogspot.com/ 

Friday, October 6, 2017

The Hipshakes - "Shot"

The Hipshakes are on a roll! After going a good number of years without any new singles from these longtime standouts of U.K. garage punk, we were treated to one last year and two more in short order this year. Hot on the heels of that double A-side affair on Crocodile Records ("Listening" b/w "Outside Lines"), "Shot" arrives on Charlie Murphy's Nerve Centre Records. This, to me, is the best yet of this wonderful new lot of Hipshakes singles. Like the rest of the band's more recent releases, it embraces pop, post-punk, and '77 punk influences without losing touch with the group's garage roots. That, to me, has been the recipe for the band's longevity (16 years and counting!). Certainly The Hipshakes have updated their sound over the years, but ultimately they still sound like...The Hipshakes! A-side "Shot" could not be any more up my alley. Think the thrashing minimalism of Pink Flag era Wire, except way poppier. Of course I love it! On the flip, "Samba" enters fist-pumping territory and demands the full capacity of your volume control. This is urgent and anthemic punk rock all the way, with just enough new wave quirks to keep you on your toes. If this one doesn't get you fired up to break out of your monotonous day and go live life, you may be a hopeless case!

With these last few Hipshakes' singles, there has clearly been a great deal of thought put into the song selections. You're never stuck with two songs that sound the same, and it certainly can't be an accident that the B-sides have been just as good as the A-sides. Perhaps outside of the U.K., this band might have fallen off of some people's radar in recent years. But The Hipshakes are clearly still going strong - perhaps stronger than ever! Murphy has already released some really great music by his own bands on the Nerve Centre imprint (if you don't own and love A Little Reaction by Murph & The Gazorpos, I don't know if we can be friends). He couldn't have picked a better band than The Hipshakes for his first "outside" release! This is a top-notch effort from one of the best bands out there. I've got more exciting news related to this label coming very soon, so stay tuned!



-L.R.

https://nervecentrerecords.bandcamp.com/album/the-hipshakes-shot-samba-single 
https://thehipshakes.bandcamp.com/ 
https://www.facebook.com/thehipshakes/ 
https://www.facebook.com/nervecentrerecords/ 

Friday, September 29, 2017

Retro Reviews: New York Loose - Born To Loose

Review by Rob Sheley

1990s New York City was a very different place than it is now. It was on the cusp of Mayor Giuliani giving the town a makeover, virtually eliminating the homeless and the Taxi Driver reality of the city. It was his sole mission to make it more tourist friendly and "safe". New York below 14th Street was gritty and dirty and downright dangerous - the perfect breeding ground for creativity in both art and music. Photos don't portray the feel of what the city was. It was something you had to experience, and it was more than just hardcore shows at CBGBs. Rock & roll was finally bubbling back up to the surface at places like Brownies, Tramps, Coney Island High, The Continental, and of course CB's.

One band that gets tragically lost in the shuffle is the New York Loose - fronted by singer/guitarist Brijitte West. Accompanied by a revolving door of players, she remained the one and the only constant member of the band. The band was perfectly poised to make a great splash in the music scene about 10 years before the Yeah Yeah Yeahs & The Strokes re-broke New York as the music hot bed. The New York Loose (named for the great Stooges song) was unique enough - borrowing from the Dolls/Heartbreakers (both Johnny & Tom) owner's manual sonically, with the jangle of '60s radio pop thrown in, similar to the Devil Dogs choice of bands to cover but with more finesse than fury. There were many unfair comparisons of Brijitte to Joan Jett, and they were simply short sighted. Just because a girl fronts a band with a guitar doesn't mean she is a cookie cutter mold of Miss Jett.

Born To Loose is a perfect cross section of a band that either needed to arrive a few years later to catch the mainstream NY wave or have had someone at the label give them the much-needed push they deserved. The band's only mainstream claim to fame was to have a song ("Spit") on The Crow soundtrack. That song is included here from the earlier 7" version with the Crow version on their major label debut Year Of The Rat. After a few tours and a bit of momentum, the band just dissolved, was dropped in the label mergers of the mid/late '90s, and never made the follow up. That was 1996. If they could have made it through the next record and toured a bit, history might be very different. The collection of their work presented here is tracked chronologically, from the 1st single A-side to several unreleased songs that would have made their 2nd major label record. It covers all of the band's most important works, especially the pre-major label songs and comp tracks. The collection does give the listener a taste of their major label work, but the songs are presented in different versions. It mainly shines the focus on their indie work.

The band released two tremendous singles in short order in 1993: "Bitch" b/w "Monolith Kids" & "Luckiest Girl" b/w "Green Light Semaphore". All four tracks are included here, all written by Brijitte with two co-written by Richard Bacchus of D Generation. That alone should give you an idea of what the band was going for. Rick played on them, and they do have a distinct feel of that 1st D Gen record. The band made a reasonable enough wave that Flipside magazine signed them to release an EP. Tragically it was never turned into a 10", but the five songs that it contained were so hopeful as to what could possibly be forthcoming. Aided by Gary Sunshine (Circus Of Power) on guitar, Danny Nordahl (Stiv Bators, Throbs) on bass, and John Melville on drums, this is the lineup that should have stayed together. But as we know, all good thing sometimes do not last. Lucky for us, the release includes all of the tracks recorded by this iteration of the band. These nine songs showcase the presence and power that they had. The fragile yet gravely wail that Brijitte possesses permeates the Flipside EP (all tracks included here), and the additional songs with this lineup are a perfect brush that the band paints with. Tender and hopeful, guttural at times, and defiant when it needed to be, the band's sound was one of the best to radiate out of '90s New York.

This collection doesn't include any tracks from Year of The Rat - I'm sure due to cost issues. But it does include the pre-release 7 inch versions of "Spit" & "Pretty Suicide". Both tracks presented here benefit from a grittier production that was lacking from the debut. "Tailspin" from the Flipside Compilation and "This Train Terminates Here" are excellent rock & roll songs. Painfully missing are their covers of "Boom Boom" by John Lee Hooker (B-side of the "Fade" 7"; "Fade" is included), "Wave of Mutilation" by the Pixies, and their revved up version of "Lust For Life" from the We Will Fall tribute to Iggy Pop.

The collection closes with several unreleased songs from the final lineup of the band. "The Case Of All Gone", "Lord Won't You Send Me A Devil", "Demons", and "Scene Of The Crime" (all recorded during or slightly after a tour with Reverend Horton Heat) spell what could have become of the band.

Upon the demise of the band, Brijitte moved to England and took some time off and then in 2010 began playing as Brijitte West and The Desperate Hopefuls. In 2016 the band created a Pledgemusic campaign to create From NY With Love following in the path that had started with the Flipside EP. The band has re-dialed in the sound that The New York Loose created in the '90s. However, Born To Loose is the necessary place to start. It is the roots and teething years for a band that was right there and should get the proper recognition that it rightfully deserves.



-Rob Sheley

Rob Sheley will be presenting 35 original drawings of Hollywood movie monsters at an art exhibition in Lancaster, PA on October 6th. For more information, check out the event page  on Facebook!