The Fuzztones "NYC" 2020****

As I may have said elsewhere, I've been a Fuzztones fan since I first heard their version of "Strychnine" in my teens. That started my love affair with Garage Rock, and even though my musical tastes keep evolving, I always return to them. So, of course, as soon as I learned they had a new album out there, I had to order it. I must admit the omens were not so good at first. First of all, this is their first LP that doesn't feature Rudi's own artwork on the cover. Instead, it's a leather bikers' jacket with the Fuzztones logo and initials NYC on it. The idea behind it being to celebrate the 40-year anniversary of the original, New York-based, Fuzztones. The fact that it's all covers didn't worry me - after all, The 'Tones have a knack of discovering rare garage gems and making them their own. But this time, their choice of originals didn't make sense. First of all, they start with a butchered version of Sinatra classic "New York New York". It hardly resembles the original, and even judged on its own merits it's a pretty meh garage rocker. Usually The Fuzztones derive their inspiration from the 60's, but here we only get one song from that period: The Fugs' lusty "Skin Flowers", a fast tune with a lot of harp. The rest mostly come from the late 70's, when Rudi first hit New York to take part in the punk scene centered around the legendary club CBGB - he actually made his debut there as early as '76, auditioning for the Dead Boys before forming Fuzztones predecessors Tina Peel with organist Deb O' Nair. Most of the bands covered here are CBGB regulars, The Fuzztones' peers of the time. First of all, we get two Dead Boys tunes: "Not Anymore" and "High Tension Wire", similar but more melodic than the originals, partly because of the keyboards. The Ramones are another band Rudi was friendly with, and they are represented here by a cool, slowed-down, version of "53rd & 3rd". I believe it's the only song on this record previously available elsewhere (the Todos Somos Ramones and Snake Oil comps.). Next is Dee Dee Ramone's tale of junkie living "Chinese Rock". Rudi likes his drugs but draws the line on heroin, so he renamed it "Microdot" in honor of his drug of choice, LSD. They dredge up -and improve upon- a semi-forgotten Richard Hell tune called "You Gotta Lose", as well as Mink De Ville's "Let Me Dream". The latter, previously buried in the B-side of the Live At CBGB's 1976 compilation, was a Lou Reed-like tune that sounds groovier with the addition of organ and harmonica. Likewise, they psychedelicize Jon Collins Bands' only officially released track "The Man In Me", previously only available in a 1976 compilation curated by that other NYC punk club, Max's Kansas City. From the same compilation, they cover Wayne (now known as Jayne) County's "Flip Your Wig". Another rare recording they unearth is The Mad Violets' ode to hallucinogenic mushrooms "Psilocybe". Fronted by scenester Wendy Wild and The Fleshtones' Keith Streng, The Mad Violets broke up before releasing an LP. This song was originally included on 1984's Battle Of The Garages Vol. 2 compilation, and The Fuzztones' version features a typically atmospheric Rudi vocal and spooky organ motif. Then they turn their hand to more familiar fare: The New York Dolls' proto-punk "Babylon" gets the 60's garage treatment, while The Cramps' "New Kind Of Kick" is an obvious choice that suits their style well. They also turn in a muscular performance of Blue Öyster Cult's "Transmaniacon MC", the inclusion of which took many by surprise who were working under the misapprehension that B.Ö.C. are a "metal" band. Finally, the album closes by a track by a former B.Ö.C. associate (not to mention their keyboardist's former girlfriend), none other than singer/poet Patti Smith: "Dancing Barefoot" is given a Doors-y twist with lots of organ. I must admit that when I read the tracklist for this album I was unconvinced: until now they had mostly covered 60's garage and psychedelia, how would they fare leaving their comfort zone? Well, with the exception of "New York, New York", they manage to infuse these songs with their own psychedelic style without alienating fans of the originals. In the end I was won over, and even got to thinking about those left out. What about 60's NYC bands like The Velvet Underground, Rascals, Blues Magoos or Vanilla Fudge? The Greenwich Village folk scene? Or the rest of the CBGB crowd, including The Misfits, Dictators, Fleshtones, Suicide, Blondie, Television or The Talking Heads? Can I commission a sequel? I'd really really like to listen to Rudi's take on "Psycho Killer"...

**** for 53rd & 3rd (Ramones)  Psilocybe (Mad Violets), High Tension Wire (Dead Boys), Transmaniacon MC (Blue Öyster Cult), Babylon (New York Dolls), The Man In Me (Jon Collins Band), Let Me Dream (Mink De Ville), Microdot (Heartbreakers), Not Anymore (Dead Boys), Dancing Barefoot (Patti Smith Group)

*** for Flip Your Wig (Wayne County), New Kind Of Rock (Cramps), Skin Flowers (Fugs), You Gotta Lose (Richard Hell)

** for New York New York (Frank Sinatra)