Flamin' Groovies "One Night Stand" 1986***

Last week, I was reading a piece on the Flamin’ Groovies in Mojo when I noticed a footnote at the end of the final page. Apparently, a reconstituted version of the band, led by Cyril Jordan, was touring the UK in September to celebrate the 50th anniversary of their cult classic Shake Some Action. I was pleasantly surprised to discover that the band still existed, and decided to check Songkick, hoping they might also be coming to the Netherlands. As it turned out, they were playing in nearby Utrecht just four days later, so I bought us two tickets. They were playing in a small club rather than the Tivoli hall—a suitably intimate setting for their no-frills garage rock ’n’ roll. The Groovies entertained us with some of their best songs and a handful of well-chosen covers. We danced, sang along, and had a great time. At 78, Jordan inevitably shows his age. He leaves the more difficult guitar parts to the younger guys, while, as a dentist myself, I almost felt professionally obliged to tell him that his singing might improve if he replaced a couple of missing teeth. Not that his singing or guitar playing was inadequate, mind you. But the best part of his performance was the way he led the younger musicians, and the obvious affection he still has for the songs. He had a few words to say about each one, which old fans like me lapped up, even when he sometimes sounded like somebody’s naughty grandpa. His stories were apparently designed to shock the younger members of his audience, being liberally peppered with f-words, along with tales of smoking cocaine and writing songs about venereal diseases. Well, I suppose he’s earned his bragging rights. Few people have maintained such a long career while soldiering on despite a conspicuous lack of commercial success, only to eventually earn the status of rock ’n’ roll legend. Seeing him up there, still leading the band, clearly enjoying playing these songs, reminiscing about the past and talking about his favorite bands (The Beatles and Stones, of course - who else?), it was hard not to feel that the legend tag was very much deserved. P.S. Fun fact: all three guitarists broke a string during the concert and simply carried on, still sounding fine. I guess six strings really are a bit of an excess.

This may not be the best Flamin' Groovies LP in my collection, but it was my first: I bought it at least 35 years ago. And yes, I did see that it contained re-recordings—it says so on the front cover. But it was the only one featuring all three of my favorite Groovies' grooves: "Teenage Head", "Shake Some Action", and "Slow Death", plus covers of some of beloved garage-rock standards. The Flamin' Groovies first formed in San Francisco in 1965, playing gritty and rootsy rock'n'roll from the beginning. Their major-label debut, Supersnazz (1969), failed to gain nationwide recognition, as did the two superb albums that followed it, Flamingo (1970) and Teenage Head (1971). At that point, singer Roy Loney left and the band decamped to England, recruiting new singer Chris Wilson and adopting a more power-pop direction. They recorded an abortive EP in 1972 with Dave Edmunds producing, eventually finding a cult following with Shake Some Action (1976). After Wilson's departure in 1981, the Groovies entered a period of recording inactivity until One Night Stand finally broke the spell. The reconstituted band featured original members Cyril Jordan (guitar and vocals) and George Alexander (bass), along with fellow San Franciscans and former Yanks Paul Zahl (drums) and Jack Johnson (guitar and vocals). The new lineup went into the studio for the first time for Australian indie Aim Records in 1986. Truth be told, this is unlikely to be anyone's favorite Flamin' Groovies album. People complain that the performances lack the originals' energy, and that the production is a bit flat. I see their point: '80s production techniques were rarely conducive to punchy rock'n'roll. Yet in this case the problem isn't that the record is too clean-sounding, which is the perennial complaint about '80s records. If it sounds like a rush job, I guess that's because that's exactly what it was. The title says it all: the band went into an unfamiliar studio and recorded what was essentially their live set in just one day, hence One Night Stand. They took one extra day to mix it and went back on the road. As for the performances, I find them energetic and solid rather than exceptional. Jordan's guitarwork is a definite highlight, but the vocals don't always stand up to the originals. Don't get me wrong: Cyril Jordan and Jack Johnson do a fine job of it, but Roy's swagger and menace in "Teenage Head" is just inimitable. They pull off the power-pop numbers like "Shake Some Action" and "I Can't Hide" much more convincingly. Of the songs originally recorded with Dave Edmunds at Rockfield, we get fine versions of proto-punk rocker "Slow Death" and rockabilly number "Tallahassee Lassie". Other covers include Paul Revere & the Raiders' "Kicks", two 50's rockers popularized by The Beatles ("Money" and "Slow Down"), and a suitably energetic romp through The Who's "Call Me Lightning". All very predictable. What isn't predictable, and works surprisingly well, is their cover of a then-recent alt-rock hit by local Aussie heroes Hoodoo Gurus, "Bittersweet". This album's main appeal is that it captures the Groovies in a particular moment, with a different lineup tackling a set that draws from nearly every phase of their career. It has been re-released on both CD and vinyl, sometimes with bonus tracks, alternate covers, or different titles such as Backtracks, Shake Some Action With... or Collection. Is it a worthwhile purchase, you ask? Well, as a garage-rock record in its own right, it's certainly an enjoyable listen. Those already familiar with the band will appreciate it as a snapshot of their '80s incarnation, while, for newcomers, it makes for an interesting entry point—as long as they know they're not getting the definitive versions of these songs. I say, if you come across a copy at the right price, take it home. If you like it, there's more where it came from.

**** for Call Me Lightning, Shake Some Action, Slow Death, Teenage Head, Slow Down

*** for  Kicks, Bittersweet, I Can't Hide, Money, Tallahassee Lassie 

Roy Loney and The Longshots "Shake It Or Leave It" 2007****

If there ever was an album worth of a PLAY LOUD! sticker, it could have been one of the first three Flamin' Groovies albums. Think Rolling Stones circa '65-68, add some wild rockabilly and pump them full of adrenaline and you'll get an idea how they sounded. Yet they all flopped - a clear case of wrong time (late 60's-early 70's) wrong place (hippy San Francisco). It wasn't until they toured England together with The Ramones in '76 that they were hailed as the keepers of the original rock'n'roll flame, but at that point their lead singer/screamer Roy Loney had left the band, and with him most of the edge was gone: that version of The Groovies took a more melodic, Beatles-inspired, approach. After leaving the band on '71, Roy resurfaced with other bands and sporadic albums, always flying under the radar. As evidenced by this effort, his staying on the edge of the music business, had nothing to do with a lack of skill or inspiration: his voice hasn't lost any of its power and the 12 original songs here display his compositional skill in a variety of styles: from his familiar Stonesey rock (opener "Baby du Jour" and closer "Hey Now") and rawdy rockabilly ("Big Time Love", the 80-second "Raw Deal") to less explored sounds like the spaghetti western "Big Fat Nada" and atmospheric psychedelia of "Subterranean Waterfalls". Other high points include the jangly folk rock of  "The Great Divide" and garage dynamite "Don't Like Nothin'", the latter heavy on fuzz guitar and vocal sneer. "Danger Waves" is a short surf rocker, "Hamlet's Brother, Happy" a whimsical slice of Anglophile pop, "Miss Val Dupree" a ? And The Mysterians-like farfisa garage rocker and "Looking for the Body" a rockabilly-ish tune seen through the prism of an English pub/punk rock band. The musicians include some talented players like Scott McCaughey (Young Fresh Fellows/REM), Deniz Tek (Radio Birdman) and Mark Pickerel (Screaming Trees), and the outcome is a record of timeless and classy rock'n'roll, which once again failed to win the appreciation of the masses. What do they know, right?

**** for Baby du Jour, The Great Divide, Big Fat Nada, Raw Deal, Don't Like Nothin'

*** for Big Time Love, Danger Waves, Subterranean Waterfalls, Hamlet's Brother Happy, Miss Val Dupree, Looking for the Body, Hey Now

Flamin' Groovies "Supersnazz" 1969****

It would take almost a decade for the world to catch up with the Flamin' Groovies but they sure as hell were rough-and-ready from the get-go. The 3 albums they recorded in the late 60's/early 70's with original singer Roy Loney at the helm were all flawless timeless rock'n'roll with the odd blues or country ballad thrown in for good measure. "Supersnazz" was their LP debut and the only one to be released on a major label. Garage rock scorcher "Love Have Mercy" opens the album in an explosive manner with the band recorded live and in great spirits. It starts off a bit like the Blues Brothers, but pretty soon you understand that this brand of R&B has been injected with punk energy and hard rockin' guitars. It sounds exactly like the album cover looks: Rollicking good fun! "Girl Can't Help It" is a throwback to the 50's without sounding retro - the energy levels are too high to ever think of it like that, guitars and sax really rip! "Laurie Did It" is slower with pop and country elements. It sounds like it could have come straight out of the Rolling Stones' "Between The Buttons". "A Part from That" is a gentle ballad with strings and "Rockin' Pneumonia and the Boogie Woogie Flu" carries a New Orleans R&B flavour, piano and all. "First One's Free" is rockabilly country with Elvis vocals and wild harmonica and piano. "Pagan Rachel" is a mid tempo jazz/country ditty and "Somethin' Else/Pistol Packin' Mama" is a rockabilly/punk powerhouse. Compare this to the Sex Pistols' version and it's obvious why the punks adored the Flamin' Groovies when they first met them in '76. "Brushfire" is a bona fide country number and "Bam Balam" a fast old-timey dixieland piece, so infectious and funny I always play it twice in a row. "Around the Corner" closes the album with some relatively tame pop rock. Somehow, this great album failed to reach a wider audience and the Groovies were dropped from their label. I can only guess that the record buying public was looking for something more serious or contemporary, this being the beginning of the progressive era. Neither "Supersnazz" nor the two superb (and even louder) albums that followed it met with any success. But the Groovies (along with Iggy Pop and New York Dolls) did carry the torch of simple, unadorned and loud rock'n'roll until the punk generation picked it up. Kudos to them for that!

**** for Love Have Mercy. Girl Can't Help It, Laurie Did It, Somethin' Else/Pistol Packin' Mama, Bam Balam

*** for A Part from That, Rockin' Pneumonia and the Boogie Woogie Flu, First One's Free, Pagan Rachel, Brushfire, Around the Corner