The Allah-Las "Worship The Sun" 2014****

It seems sometimes that the 5 years between 1965 and 1969 produced more exciting sounds than the other 55 years of rock music put together. The Allah-La's certainly seem to think so. Their first album was a delicious pastiche of Nuggets garage, surf and folk rock, firmly based in that era. Their second one follows closely the same recipe. Produced again by Nick Waterhouse, it sports an immaculately retro sound - maybe slightly more polished than their debut, with a lighter California feel (the title, after all, says it all), nevertheless everything here could pass for a lost 1966-'67 gem. The first few notes (from "Da Vida Vos") threaten to sail the album to uncharted (grunge?) territory but, spearheaded by some vaguely Spanish acoustic guitar, the rest of the song sounds like it escaped from Love's "Forever Changes". Lead single "I Had It All" is an excellent slice of moody garage with lazy vocals. "Artifact" is the third winner in a row, a mid-tempo garage rocker reminiscent of the Chocolate Watch Band. "Ferus Gallery" is the first instrumental, a surf/bossa nova hybrid with vibraphone that reminded me of those Italian Easy Tempo compilations of Cinecittà music. "Recurring" is sunny psych pop and "Nothing to Hide" a laid-back hippie piece, of the kind you'd expect to hear from Devendra Banhart. "Buffalo Nickel" is a catchy tune with jangly Byrds-ian guitars and Beach Boys/Zombies harmonies. "Follow You Down" is another mid-tempo garage rocker, while single "501-415" is fast and short, with fuzz bass and words spat out in quick succession, a bit like Barrett's Pink Floyd doing Dylan's "Subterranean Homesick Blues". Probably the roughest sounding track on the record. "Yemeni Jade" is an atmospheric instrumental and "Worship the Sun" a stoned, slightly Latin-tinged psych ballad that reminds me of the ones Pink Floyd wrote in the 60's for the Ibiza-set film "More"."Better Than Mine" is Byrds/Buffalo Springfield-style country rock, complete with pedal steel guitar. The two "bonus tracks" tucked at the end were released as single B Sides: "No Werewolf" is a cover of The Frantic's surf instrumental "Werewolf", creatively employing a motorik krautrock rhythm. "Every Girl" closes the album with raunchy Stones/Standells garage rock that adds some welcome edge to this generally sun-kissed record. Now, I know what people will say about the Allah-La's: We've heard it all before, almost half-a-century ago. Only, very few have actually said it better. And nobody in the last 25 years or so since the first Paisley Underground revival. Hopefully the Allah-Las and their British cousins the Temples will prove to be the vanguard of a new psychedelic rock movement.

***** for I Had It All

**** for De Vida Voz, Artifact, Buffalo Nickel, Worship the Sun, No Werewolf, Every Girl

*** for Ferus Gallery, Recurring, Nothing to Hide, Follow You Down, 501-415, Yemeni ,  Than Mine

The Hentchmen "Hentch Forth Five" 1998***

As an avid fan of garage and psychedelia I used to, at a certain point in my life, buy anything I could find in those styles. Thankfully I'm cured of that, but in the Hentchmen's case I just had to hear what young Jack White was up to before he became famous. His influence in the Hentchmen's sound doesn't seem to be so big, as he mostly played bass and contributed some vocals. His Jimmy Page-like guitar is audible only in the Beatles' "Some Other Guy" and (appropriately) the Yardbirds' "Psycho Daisies" - both of which happen to be the record's highlights, the first one being the album's "pop" and second its "hard rock" moment. Pop, that is, for Hentchmen standards, since their sound is generally very raw and energetic, reminiscent of England's Headcoats or their Detroit neighbors the Dirtbombs. The first half of the album is the better one, featuring 60's sounding lo-fi garage dynamite like "Yesterday's Trash", "LA.M.F", "Automatic" and Bo Diddley-referencing "Me and My Monotone".  "Little No More", "Carry Me Home" and "Big Screen Lover" are a sub-Sonics romps while "R&R Cancer" degenerates further into pure noise. Now, I know that garage punk is meant to be loud and noisy but, on record at least, a token melody is required. "Gawker Delay", "Club Wagon" And "Ham & Oil" are some raucous instrumentals filling up the record. The album closes with a pointless alternative version of "Psycho Daisies" that is almost identical to the first one. All in all, I don't doubt the Hentchmen must be a good live band, but their energy does not transfer well in CD and their own compositions lack hooks. They could have used more help from Jack White, who was at that time busy with setting up his own band The White Stripes. When he takes over the vocals or plays guitar, he elevates the band a notch. But, as is evident from the back cover, he was the odd man out here.

**** for Some Other Guy, Psycho Daisies

*** for Yesterday's Trash, LA.M.F, Automatic, Me and My Monotone, Little No More, Big Screen Lover

** for Gawker Delay, Carry Me Home, R&R Cancer, Club Wagon, Ham & Oil

The Candy Skins "Space I'm In" 1991***

My God, the Candy Skins. Let's see... I do remember hearing one of their songs on the radio and thinking it was cool. Then I remember coming across their album in a sale and thinking "it costs next to nothing, let's buy it". I don't remember ever listening to it, but I must have - I give every new album a couple of listens. Re-listening to it now, it doesn't sound bad at all, but rather undistinguished and pretty much of its time: indie pop in thrall to the 60's and bands like the Byrds and Beatles. There was a wave of British bands deriving inspiration from these same sources: You know, you had your Stone Roses, Ride, Teenage Fanclubs and, later on, Oasis - and then you had other bands, similar but less successful. "So Easy" has that baggy sound that was in vogue at the time, while the band's hit "Submarine Song" is a nice jangle rocker and "Black & Blue" is a piece of sunny folk. "Never Will Forget You" has a Big Star/REM vibe and "Freedom Bus" is a fast number that reminds me of The Byrds and Tom Petty. "Without Love" tries to rock, but to me it sounds like a Lenny Kravitz leftover. "She Blew Me Away" was picked up for a single release. Why, I don't know. It's a pleasant but forgettable song. I can't see many people listening to it and then rushing to the stores to buy the album. "Third World Blues" is more of the same and "Not Sad to See You Go" differentiates a bit by including some funky wah-wah guitar. "Get Together" is instantly forgettable and Buffalo Springfield's "For What It's Worth" is adorned with a baggy beat, electric guitar solo and what sounds like a Sympathy For The Devil sample - though there's no mention of samples anywhere, so I could be mistaken. In any case, it's a good cover in the sense that, despite being far inferior from the original, it remains interesting by introducing new elements. The album closes with "Space I'm In", another jangly number with a big chorus. Now, I don't want to diss this CD: it's a solid effort, well played and produced, guitars sounding just right - but, frankly, it bored me. Which means that, probably, I am dissing it after all. Then again, if you can't get enough of the Stone Roses, LA's, REM etc. or feel nostalgic for the sound of the late 80's/early 90's then by all means, give it a listen...

**** for Submarine Song, Freedom Bus

*** for Never Will Forget You, She Blew Me Away, Third World Blues, Not Sad to See You Go, For What It's Worth, Space I'm In

** for So Easy, Black & Blue, Without Love, Get Together

Novalis "Sommerabend" 1976****

Novalis' "Sommerabend" has one of the prettiest album covers in my collection. Even if you're not familiar with the German romantic poet from whom the band took its name, the beauty and serenity of its cover should give you an idea of its content, which is melodic symphonic prog. Similar to Eloy and Camel, but with a dark folk influence evident in the acoustic guitars and sombre singing (in German). Use of the German language is one of the band's strong points, as it sounds right for their music. Since I don't speak German, I am free to conjure whatever images I want to accompany this music and it filled my mind with images from the fabulous (and simultaneously horrible) fairy tale world of the Grimm brothers' stories. "Aufbruch", the first of the 3 lengthy tracks, is an instrumental and the most experimental of the three. It contains both heavy and light passages, with imposing keyboards, jazzy piano and electric guitars, giving the musicians a chance to show off their skill. ELP and Eloy come to mind. The next track is called "Wunderschätze", which translates roughly as "wondrous treasure". The lyric is a poem by Novalis (written in 1798) and music closer to a classic rock ballad, dominated by acoustic guitars. Only towards the end does the sound get fuller and more electric. The third track, which took up all of LP's second side (You do know what an LP is and that it has two sides? Sometimes I wonder...) is "Sommerabend" which means, I guess, "Summer evening" (zomeravond in Dutch). It is a long suite comprised by various movements, as was the fashion with rock musicians who wanted to emulate classical music. The first part "Wetterleuchten" consists of synth-generated atmospheric soundscapes a la Tangerine Dream, while the second "Am Strand" ("On the beach", of course - See? I do know German after all) is introduced with an acoustic guitar playing what sounds like the intro to "House Of The Rising Sun", also known as guitar lesson number 1. Regardless, it's a beautiful piece with melancholic vocals and the sound of splashing waves at the background. Third part "Der Traum" is another romantic ballad with acoustic guitar, followed by "Ein neuer Tag", which is fast with soaring synths and guitars and choral vocals, while the song comes full circle with "Ins Licht", an atmospheric synth-dominated track in the spirit of early Pink Floyd. I'm always impressed by the tendency of German groups (and Italian ones, e.g. Le Orme) to transcend the confines of rock and seek inspiration elsewhere, be it classical, jazz, folk or electronic music. Not that musical adventurism has a nationality, of course. In any case, Novalis "Sommerabend" is an ideal introduction to the world of progressive rock, thanks to its enchanted melodies and lack of instrumental noodling which is endemic in this genre.

**** for Wunderschätze, Am Strand, Der Traum

*** for Aufbruch, Wetterleuchten, Ein neuer Tag, Ins Licht

Hanoi Rocks "All Those Wasted Years" 1984***

To be honest, I bought this album by mistake. Based on the tracklisting, I thought it was a Greatest Hits album - the word "Live" or date of recording isn't mentioned on the cover. What it is, is a live document of the band at its prime recorded at the small but historic London Marquee Club in December 1983. The concert was also videotaped and released on VHS tape (anyone remember those?). For those not familiar with Hanoi Rocks, they were the archetype 80's glam band, and had a crucial influence on U.S. hair metal. Bands like Guns'n'Roses, Mötley Crüe, Poison, Skid Row etc. have acknowledged their debt and so have indie bands like Manic Street Preachers and the Foo Fighters. Hanoi Rocks came from the most unlikely place for such an influential band, icy Finland. I do believe they were the very first rock band from the Scandinavian peninsula to achieve worldwide success (unless, of course, you count ABBA). They came from the punk scene and kept punk's edge and connection to early primitive rock'n'roll which they coupled with hard rock guitar solos and a transvestite look they may have borrowed by The New York Dolls but took it further and added more glamour to. One year after the recording of this album and during their triumphant first American tour, tragedy struck. During a party at Mötley Crüe's house, MC singer Vince Neil and HR drummer Razzle drove to the liquor store to get more beers. They were already drunk and got involved in an accident. When they didn't get back, other members went seeking for them, arriving just in time to see Neil getting handcuffed by the police and learn that Razzle was taken to the hospital, where he was pronounced dead. He had just celebrated his 24th birthday. His bandmates were grief-stricken and decided to put an end to their band. The live album and video functioned as a perfect epitaph, the Rocks sounding tight and looking assured, singer Michael Monroe (a.k.a. Matti Fagerholm) strutting the stage like a catwalk and guitarist Andy McCoy (Antti Hulkko) doing a perfect Keith Richards imitation. Not to mention the hats - probably HR influenced Guns'n'Roses in more ways than one... The concert started off much like an 80's Ramones gig: An instrumental intro, followed by an 1-2-3-4 count and "Oriental Beat", a Ramones/Beach Boys sounding track off their 2nd album. "Back to Mystery City" is closer to the trash rockabilly/punk style of the New York Dolls and "Motorvatin'" a Creedence/Status Quo boogie. "Until I Get You" and "Don't Ever Leave Me" are melodic hard rock and "Mental Beat" a fast punk/metal number with audience joining in on the chorus. "Tragedy" and "Visitor" are fast hard rockers justifying the Guns'n'Roses comparisons and "Malibu Beach Nightmare" is surf punk with rocking sax and Wipe Out-style drums. "11th Street Kidzz" from their debut seems to merge Mott the Hoople's "All the Young Dudes" & Sandinista-era Clash. "Taxi Driver" and "Lost In The City" sport R&B choruses, metal guitars (the former) and harmonica (the latter). "Lightnin' Bar Blues" by country songwriter Hoyt Axton has a welcome 60's air and singalong chorus and "Beer and a Cigarette" is a fast Rolling Stones/Yardbirds-style garage rocker with a blues harp solo. The album closes with a trio of covers that function as a tribute to their early influences: A fairly straightforward take of Alice Cooper's "Under My Wheels", a frantic garage punk "I Feel Alright" (Iggy and the Stooges) sporting a Doorsy middle section, and a lightning-speed version of The Yardbirds' garage nugget "Train Kept A Rollin'". Now that I think of it, it may be just as well I bought this live album instead of a Greatest Hits, as it does contain all their best songs performed in a rough no-nonsense manner and flows much better than a compilation with the inevitable differences in sound and production. Based on what I heard here, I already started collecting their individual studio albums. Style-wise they may be rooted to the 80's but, unlike their hair-metal disciples, they made timeless rock'n'roll that still sounds fresh and exciting today.

**** for Back To Mystery City, Until I Get You, Don't Never Leave Me, Malibu Beach, Lost In The City

*** for Pipeline, Oriental Beat, Motorvatin', Mental Beat, Tragedy, 11th Street Kids, Taxi-Driver, Lightning Bar Blues, Beer And A Cigarette,  Under My Wheels, Train Kept A Rollin

** for Visitor, I Feel Alright

Jess Roden & The Humans "Live At The Robin" 1996(recorded) 2004(release)***

Based on his vocal prowess alone, Jess Roden should by rights have been a household name. Instead, and despite playing and recording since 1966, he remains a cult artist. I first discovered him on the LP by the Butts Band and he totally blew me away from the first notes. "Who are the Butts Band?", you ask...Well, they are but a footnote in one of the most exciting chapters in The Book Of Music, the chapter of The Doors. Seeing an unknown record with the names of Robbie Krieger and John Densmore on the back cover certainly caught my attention, but the music within was not what I expected: It was actually way, way better. Instead of a second-rate Doors imitation I got this Eagles/Bad Company amalgam, with this amazing soulful singer. I'll present the Butts Band album in due time, suffice it to say that it marked for me the discovery of a great talent. Indeed, Roden deserves a place among the all-time-greatest "blue eyed soul" singers, similar to -and every bit as good as- Paul Rodgers, Joe Cocker, Stevie Winwood and Steve Marriott. Unfortunately, his career floundered and most of his albums (including this and the one with the Butts Band) are out of print. I found my copy of "Live At The Robin" in a second hand store and approached it with caution. Sure, the guy has a great voice but what if the band sucks or if the material is substandard? Plus, live albums can be hit-or-miss, depending on the night they were recorded. Well, lets talk about the band: The Humans were Gary Grainger on guitar (former Rod Stewart collaborator), Nick Graham on bass (former Atomic Rooster), Bill Burke on 2nd guitar and Leo Brown on drums. With two guitars and without keyboards or horns, the music veers away from Soul and towards Hard Rock. The album was recorded in 1996 at a club in the English Midlands and it finds the band on great form, playing in front of Roden's hometown crowd. Most of the songs come from the Humans' only album. The first two (self-penned) tracks sound like a bluesier version of Neil Young & Crazy Horse, stretched out beyond the 6-minute mark and with both guitars banging away. "Cool Water" (another Roden/Grainger original) has a Creedence-like Southern Rock feel, and it's followed by a couple of heavy blues workouts, Willie Dixon's "I Live The Life I Love" and Buddy Guy's "Let Me Love You Baby". "If You Really Want Me" is a bluesy hard rock ballad and Joe Tex's "You'd Better Believe It" a rousing soul number. The album then ends as it began, with a couple of loud and grungy rockers: The original "Before I Hurt Myself" and Neil Young cover "Rockin’ In The Free World". Unbeknownst to the band, it was to be the last song they would ever play together. Well, they may not have known it at the time, but at least they went out with a bang...

**** for When I Call Your Name, So Fine So Young, Cool Water, Before I Hurt Myself

*** for I Live The Life I Love, Let Me Love You Baby, If You Really Want Me, You'd Better Believe It, Rockin’ In The Free World

Los Lobos "How Will The Wolf Survive?" 1984*****

My first contact with Los Lobos was their spot on La Bamba, the 1987 movie about the young chicano singer and early rock'n'roll casualty Richie Valens. I loved the music and bought the soundtrack LP shortly after, though I confess I haven't heard it for a very very long time. My closest encounter with them came when I saw them play as support to Neil Young in his Amsterdam concert at the Ziggodome, a couple years back. They weren't flashy, but played a great R&B/Rock'n'Roll set. Hope I'll get the chance to see them play a small or medium-sized club someday, because arenas don't suit them so well - no critique intended, I just think they could set a smaller venue on fire with their music. By 1984, Los Lobos (Spanish for The Wolves) had already played thousands of bars, juke-joints, parties and wedding receptions, were profficient in many different types and had an impressive repertoire of cover songs. When they got the chance to record for a major label, they were faced with the challenge to confine all of that in the limited space of an LP. A daunting task, for sure, but one in which they succeeded, producing a great party record that seamlessly mixed disparate styles while mainaining the feelgood mood, the way a good dj does. Only 2 of the 11 songs are covers, but every one will have you thinking "I know this, it's a classic" - which, of course, is true: these are (now) classics. For thirty years, this album stays high in the all-time greatest albums lists, while others rise to the top-10 only to disappear after a decade. Opener "Don't Worry Baby" is revved-up boogie, straight from the crossroad between John Lee Hooker Street and Stevie Ray Vaughan Avenue. It is followed by "A Matter of Time", an earnest folk rocker a la Springsteen, focusing on the hardships of working class immigrants. "Corrido #1" is a fast Tex-Mex polka with accordion, sung in Spanish and "Our Last Night" honky tonk country with distinctive lap steel guitar. 4 songs, 4 different styles until now and we continue with "The Breakdown", the only rockabilly song I know that features accordion as a lead instrument. "I Got Loaded" is a ripping cover of an old R&B number from Louisiana singer Little Bob extolling the virtues of alcohol and it's followed by "Serenata Norteña", a traditional mariachi song. "Evangeline" and "I Got to Let You Know" are a couple more rockers with a strong 50's vibe. "Lil' King of Everything" is an acoustic instrumental with guitar and mandolin, leading to "Will the Wolf Survive?", a catchy "modern" sounding folk rocker that got picked up by MTV and gave the band its first hit. Albums so lean and strong, with no unnecessary filler and with such diversity and timelessness are already rare, but this one also happens to be as enjoyable as an ice-cold Corona on a very hot day. Play loud and often!

***** for Don't Worry Baby

**** for A Matter Of Time, Corrido No.1, The Breakdown, I Got Loaded, Serenata Nortena, Evangeline, I Got To Let You know, Will The Wolf Survive?

*** for Our Last Night, Lil' King Of Everything

Rolling Stones "Emotional Rescue" 1980****

"Emotional Rescue" is my penultimate Rolling Stones album (I only miss "Undercover" now, plus a couple of live albums and compilations). It was given away as premium with the Sunday paper and I thought I'd better get it at last. Until now it had escaped me, since it didn't feature any songs I knew and liked - other than the famous title track, which I had in countless compilations. And if that was the best song on, or even indicative of, the album, I could certainly do without it. As it turns out there were still decent Rolling Stones songs that I hadn't heard yet. Weird, because I grew up (later) in the 80's and "Emotional Rescue" was such a bit hit at its time - their first #1 on both sides of the Atlantic, for a very long time. You'd expect d.j.'s to be still playing more songs from the album on the radio after a few years. It followed the (commercial and critical) success of Some Girls, and they are obviously trying to replicate the formula, the title track being a blatant attempt to copy "Miss You" (as if one Stones disco single wasn't enough). Listen here, Mick, if I want to listen to disco I'll play ABBA or Boney M. My God, how did Keith put up with that bozo? What's that with the ridiculously high falsetto? And yet, despite myself, I like the song: blame Bobby Keys and his fantastic saxophone - an unsung hero that worked with the Stones for 45 years, up to his death a few months ago. I don't think he had his equal in rock - except maybe Clarence Clemons from the E-Street Band. The album opens with another disco number, "Dance Pt.1". I can't honestly say I hate it - the band falls into a nice groove - if it came out of the speakers of a club, I'd get up and dance to it. I also dig the weird bird noises (courtesy of rastaman Max Romeo, who also plays some percussive instruments throughout the record). Romeo also appears on the reggae-ish "Send It to Me", which has some tasty guitar licks by Keith and a disco chorus (you guessed it, another Mick tune). The lyrics are about someone ordering a mail order bride - I can't tell if Jagger is trying to sound lusty or funny when he sings "She could be Romanian, she could be Bulgarian, she could be Albanian...she could be the alien, just send it to me." Many a Greek man has sung that tune, believe me! Just watch the hilarious (and true) Sugartown movie... "Summer Romance" and "Let Me Go" are two competent rockers of the kind Jagger and Richards can write in their sleep. Nice solos, though! "Indian Girl" would be a typical Stones ballad if it wasn't for the Latin element (marimba, mariachi horns) and the unexpected lyrics: The Indian girl's family are communist rebels, off at war "shooting down planes with their M-16 and with laughter". The narrator seems to feel sorry for the girl but has nothing to say to her tales of hunger, rape and murder except that "Life just goes on and on getting harder and harder" or, in other words "Stop talking politics, you're making me uncomfortable". I've heard that one, a lot! "Where the Boys Go" is a nice surprise: high octane garage punk - who knew that the Stones could sound like the Undertones? Great girly backing vocals, too. "Down in the Hole" is the 3rd pleasant surprise in a row, the bluesiest Stones song for years - I officially like this record! "She’s So Cold" was the album's second single, a strong rocker with dump lyrics, hitting a spot between their own "Honky Tonk Women" and the Talking Heads' excursions into soul. "All About You" is a Keith Richards ballad. Like Dylan's, his voice is an imperfect instrument, but his emotive delivery does the song justice and closes the album on a nice bittersweet note. For the clip I chose one of the less known songs from the album because it's fun and, most importantly, shot with a "futuristic" thermographic camera (the same they used for the record cover) and you don't have to watch Jagger's ugly mug, making faces at the camera...

**** for Indian Girl, Where the Boys Go, Emotional Rescue, She’s So Cold

*** for Dance Pt. 1, Summer Romance, Send It to Me, Down In the Hole, All About You

** for Let Me Go

The Plasmatics "Final Days: Anthems for the Apocalypse" 1981-1988(orig) 2002(comp)***

Some bands are critics' darlings, for some mysterious reason. I never understood, for example, why my music encyclopedias classify almost the entire output of Elvis Costello or Dexys Midnight Runner as essential listening. Well, the Plasmatics are the complete opposite. It appears that most music critics hate them with genuine passion. I don't get it: A punk band with a voiceless former pornstar for a frontwoman, two loud but inept heavy metal guitarists and a stage show that included lots of nudity, blowing up cars and cutting up guitars with chainsaws? Isn't that the very definition of good taste? Or were these critics ashamed of being aroused by the dominatrix attires of Ms Wendy O. Williams (a.k.a.WOW)? Anyway, a few words about this remarkable performer: At 16, she left her New York home to drift all over the US and Europe, doing all kinds of jobs and getting arrested for various minor offences - finally settling on a career as a live sex performer. She made her screen debut on the 1979 porn movie "Candy Goes to Hollywood", where she memorably shot ping pong balls out of her vagina. Colourful character, to say the least. Around that time she met her future partner and manager who was trying to put together a punk rock band and who convinced her to change career, while staying in show business. So at her 30est, much later than most singers, she stood behind the microphone stand for the first time to lead her band, The Plasmatics. Now, when I called WOW voiceless, I was, of course, exaggerating. She does have a voice, just not the singing kind. She can shout and she can scream with the best of them. And her band got better, almost professional, with time. Their lyrics were confrontational, often sexually explicit or politically charged, attacking the Establishment and Reagan's conservative America. The punk sound of the first two albums gradually gave way to Heavy Metal and the Plasmatics made a living in the music business, admittedly more thanks to their (literally) explosive live shows than the music per se. Although reviled by critics, they've been championed by friends and collaborators including Kiss's Gene Simmons, Motorhead's Lemmy and Joey Ramone. "Final Days..." is one of two compilations of Plasmatics/WOW material released post-millennium. I'll tackle the songs in chronological order: The earliest tracks here come from their sophomore 1981 album "Beyond the Valley of 1984", they are the punk/metal dynamites "Masterplan" and "A Pig is a Pig". The latter was written after an incident WOW had with the Milwaukee police, when she was arrested during a show for "indecent exhibition", brutally beaten and sent to the hospital with multiple injuries. On top of it, she was charged with instigating the incident and assaulting a police officer - charges of which she was later acquitted. Another obscenity trial (for performing on stage with nothing but whipped cream covering her private parts  - how the hell did she get the whipped cream to stay?) came to nothing but, much like the infamous Jim Morrison Miami incident, it almost killed the band's career, marking them as troublemakers while club owners cancelled their shows, fearing they may be shut down by the police. No wonder then that WOW sings with such vile, initially using a mock-country rhythm and continuing with a metallic all-out assault on "pigs". From 1981 and the "Metal Priestess" EP we get "The Doom Song" and "12 Noon". The former features a long organ and spoken word interlude, before it slips into Metal, the latter is more punk/new wave and reminds me of (LA punk band) X. Their Si-Fi theme justifies the "Apocalypse" of this compilation's name. And, although we don't have anything from 1982's Coup D'Etat album, we get 4 demo versions of that album's songs: "Stop" comes off like a Black Sabbath/Sex Pistols hybrid and is one of the band's better compositions. "Just Like on TV", "Uniformed Guards" and "The Damned" show the band's transformation to a metal group to be completed. 1984's solo project "WOW" was a professionally recorded metal album produced by Kiss's Gene Simmons and featuring all of Kiss as guest musicians. From it we get "Opus in Cm7", a mid-tempo hard rocker, which Plasmatics fans must find too tame (it even features piano). Even more irritating for them will be "Lies", a rap metal ditty from her third (and last) solo album (1988's Deffest! and Baddest!)."Brain Dead", "Propagators" and "Finale" come from the band's last Plasmatics album, 1987's "Maggots: The Record", balancing among punk, hardcore and metal. Wendy left the music business in 1989 to devote herself to organic farming and the rehabilitation of sick and abused animals. Unbeknownst to most of her fans, this ferocious performer was, in real life, a quiet person passionate about vegetarian diet, natural food, exercise and the care of animals. Whether she was unhappy in her private life or she suffered from a mental illness isn't at all clear, but the fact is that between 1993 and 1998 she made three suicide attempts, of which the last (with a gun) was successful. Her suicide note gave no explanations other than it was a conscious decision and not the result of desperation or self-loathing. She was 48 y.o. at the time.

**** for Stop, Masterplan

*** for The Doom Song, Just Like on TV, Propagators, Uniformed Guards, Opus in Cm7, The Damned, A Pig is a Pig, 12 Noon

** for Brain Dead, Lies, Finale

Elvis Costello & The Attractions "Imperial Bedroom" 1982(orig) 1994(reissue, bonus tracks)***

A music reference book of mine "1001 albums you must hear before you die" lists no less than 6 LP's by Elvis Costello, as many as by the Rolling Stones and Neil Young (and more than, say, Led Zeppelin, Pink Floyd or REM). Others also rate Costello's albums incredibly high, yet he's nowhere near as popular or influential as others in these lists. "Imperial Bedroom" is one of his most highly rated albums despite the absence of hit songs. My own edition is the 1994 Rykodisc reissue (Costello's albums get constant reissues, including the 2-CD Rhino and the Rykodisc reissues that expand the original albums with a generous side-dish of bonus tracks). Re-listening it now, I must admit that, although not a favorite of mine, the songwriting and production are of the first order. Costello is one of pop's best storytellers, probably one to rival Dylan and Tom Waits. For the most part of the album, the music takes its cue from the Great American Songbook, encompassing classic pop, jazz and country. "Beyond Belief" is a great opener, sonically between The Kinks' proto-Britpop and Police's New Wave. "Tears Before Bedtime" combines a reggae-ish rhythm with a touch of the Beatles. The Beatles influence is actually audible throughout the record (nowhere more so than the Sgt.Peppers-like arrangement of "...And in Every Home", featuring a 40-piece orchestra). No wonder, since he enlisted as producer former Beatles sound engineer Geoff Emerick. "Shabby Doll" is one of the few songs on the album that connect with me emotionally - a story of broken hearts sung in a voice at once sad and angry with  jazzy, staccato piano backing. Likewise, "The Long Honeymoon" tells the thoughts of a wife staying up late, faced with the probability of her man being out cheating her with her best friend. It's a great accordion-and-piano-led piece set to a Latin bolero rhythm."Man Out of Time" is the album's lead single, spliced from two different versions, a wild punkish one and much more polished pop one. "Almost Blue" with its melancholy piano and late-night feel would be a perfect vehicle for a Billie Holiday. As it is, we have to contend ourselves with jazz diva (and future Costello's wife) Diana Krall's version."The Loved Ones", "Human Hands", "Little Savage" and "Pidgin English" are mid-tempo smart pop with big Sgt. Peppers-like orchestration."Kid About It" and "Boy with a Problem" are bluesy ballads. "You Little Fool" is the album's other single, classic pop songwriting in the Beatles/Kinks vein. "Town Cryer" is a touching song with majestic strings that closed the original album. Bonus tracks include covers of Smokey Robinson's R&B classic "From Head to Toe", Shuman/Pomus ballad "The World of Broken Hearts" and two songs from 60's Liverpudlians The Merseybeats and Escorts (the rock'n'roll "Really Mystified" and R&B "Night Time", respectively). The CD contains also Costello-penned B Sides and unreleased songs such as the upbeat "I Turn Around", country-ish "The Stamping Ground", ballad "Seconds of Pleasure", an early version of "Shabby Doll" and "Imperial Bedroom" - a waltzy tune that lent the album its name but was ultimately left out the finished product. All in all, listening to the album led me to recognise its artistic value but gave me little satisfaction. Which reminds me that the album's marketing campaign contained only one word "Masterpiece?" - with a question mark. Its mock-Picasso cover seems to accentuate the question: Do I have to like it, just because I can recognise its artfulness? Am I less savvy if I prefer, say, Deep Purple?

**** for Beyond Belief, Shabby Doll, The Long Honeymoon, Man Out of Time, Almost Blue, You Little Fool, Town Cryer

*** for Tears Before Bedtime,...And in Every Home, Human Hands, Kid About It, Little Savage, Boy with a Problem, Pidgin English, From Head to Toe, Night Time, Really Mystified, I Turn Around, Shabby Doll (Early version), Imperial Bedroom

** for The Loved One, The World of Broken Hearts, Seconds of Pleasure, The Stamping Ground

The Sugarcubes "Here Today, Tomorrow Next Week"1989***

When this album came out, singer Björk Guðmundsdóttir was, despite her young age, a music business veteran, having released her first record at the age of 11 and played in several bands since. So when worldwide success came knocking the previous year (with hit single "Birthday" from the Sugarcubes' debut), it must have seemed like winning the lottery after playing for years. And who expects to win the lottery twice? Their sophomore effort does not betray any anxiousness to repeat the success and sounds like a band enjoying themselves, sometimes silly but always fun. In particular co-singer Einar Örn Benediktsson seems bend on destroying the songs' hit potential, as his vocals are often intrusive and obnoxious, shouting and rambling instead of singing. In his defence, his interventions are usually hilariously surrealistic, which adds to the good time feel of the album. Time after time I'm reminded of the B52's, so much so that I could almost dub them The Nordic B52's: The combination of obnoxious male and heavenly female vocals, irreverent humour, danceable new wave rhythms make themselves evident from the opening track "Tidal Wave", an upbeat number with latin and soul overtones, Bjork sings her larynx off while Einar keeps rambling on about sniffing diesel. On the following song "Regina" he keeps shouting that "I really don't like lobster". It's the album's poppiest moment and lead single and the one Bjork fans will love. "Speed Is The Key" sports a Clash-like punk/funk intro, shouting from Einar and a pixie-with-a-hiccup performance from Bjork. "Dream TV" and "Nail" are fast and slightly cacophonous, the sound of an out of control party. "Pump" features angelic lead vocals, counteracted by "i hate you" shouts in the background. The decision to restrict Einar to backing vocals and letting Bjork handle the lead alone works very well for the song. "Eat The Menu" is one of their B52's-like songs, with rockabilly-ish guitar and playful lyrics. "Bee" has a funk/ska rhythm and "Dear Plastic" is a dance track that incorporates African rhythms and electronic beat and reminds me of early Talking Heads. The rest of the album is less remarkable, with the exception of the atmospheric "Water" and (second single) "Planet". "A Day Called Zero" is a cheerful imagining of the Apocalypse. I like its twangy guitars and wild sax. After all the experimental albums she's being making lately, it was nice to reacquaint myself with the pop minded young Bjork - and even that madcap Einar. He may be completely bonkers and on occasion annoying, but he made me laugh...

**** for tidal wave, regina, pump, eat the menu, planet

*** for speed is the key, dream tv, nail. dear plastic, water, a day called zero

** for bee, shoot him, hey, dark disco, hot meat

Nirvana "Bleach" 1989***

Received wisdom has it that Nirvana only became the superstar band we know, after David Grohl sat on the drum stool. Their 1989 debut is often exhibited as argument, but when one looks closely the seeds of greatness are already there. The band just needed direction, as Cobain was obviously conflicted about both what he wanted and how to achieve it. The pop insticts of Grohl and producer Butch Wig helped him shape his vision into the mega-selling triumph of "Nevermind". But "Bleach" producer Jack Endino was notorious for his sludgy sub-metal productions, not the best sound for potential hits like "Blew" and "About a Girl". Cobain's own idea of a commercial single was contemporary heavy metal. As he has stated "...there was this pressure from Sub Pop and the grunge scene to play 'rock music', so I stripped it down and made it sound like Aerosmith". Which, of course, it doesn't. Not with a budget of $600 and a producer like Jack Endino. The more metallic cuts are throwaway filler, proof that his heart wasn't in it. His attempts on heavy guitar soloing are not that bad, though. Opener "Blew" is case in point. An anthemic song that stood the test of time to become a live favorite, it had all the markings of a Nirvana classic: Strong hooks, Zeppelinesque guitar, a rough but passionate vocal performance. "Floyd the Barber" (one of three songs recorded with Melvins' drummer Dale Crover) sports metallic riffs that remind me of Mötorhead. The most important track here is "About A Girl", exhibiting great songwriting and hitherto hidden pop sensibilty - dare I say a Beatles influence? Plus, it doesn't hurt to tackle a universal theme like relationships and...girls. "School" tackles another universal theme, that of teenage alienation. Later on, he'd write the ultimate song on this subject ("Smells Like Teen Spirit", of course). "School" is almost as anthemic a song and a live favorite. "Love Buzz" was the album's sole cover and the fact that it was chosen as lead single speaks volumes on the band's lack of self-confidence. It was penned in the mid-60s by Shocking Blue, the Dutch pop-meesters from Den Haag, who also wrote the super-hit "Venus". The oriental surf/metal guitar motiff may have been an influence on Offspring and it proved for the first time that a marriage between grunge and pop is not only feasible, but probably a good idea too. "Paper Cuts"and "Downer"are the two other Dale Crover tracks, songs powerful but too rough and grungy. "Negative Creep" is just as aggressive but a much better song and features Cobain's soon-to-become-famiiar self deprecating lyrics. After that, the quality drops noticeably. Despite some good riffs, "Scoff", "Swap Meet", "Shifting" and "Big Cheese" mostly just wallow in metallic sludgeland and "Mr. Moustache" is a punky ironic assault on the fake rebellious machism of the grunge scene. With hindsight, it's easy to see Nirvana's world-shaking potential and the album does include a handful of great songs, but it's weighed down by too much filler. Which is why I'll give it 3*.

***** for About a Girl

**** for Blew, School, Love Buzz, Negative Creep

*** for Floyd the Barber, Paper Cuts, Swap Meet, Mr. Moustache, Downer

** for Scoff, Sifting, Big Cheese

Anne Clark "THE LAW Is An Anagram Of WEALTH" 1993***

Anne Clark's live album "RSVP" was probably the first electronica album I bought. Being a teen rock fan at the time, I was indifferent to the electronic pop of early Depeche Mode, Human League etc and openly hostile to the nascent house and techno scenes. I considered them brainless and tuneless noise, but Clark's poetry, shouted or plainly recited over electronic beats, managed to move me and overcome my objections. RSVP fell victim of the Great Vinyl Purge long ago, but I still occasionally play her CDs and have really enjoyed her concert at the Rodon club, sometime around 95. Although this album had circulated at the time, I only heard it much later. The introduction surprised me, as it consisted of a cello instrumental. It turns out that electronic music was just one vehicle used by Clark to deliver her poetry and that she is equally adept with acoustic instruments. In this album she combines both. As half the album consists of readings of poems by Friedrich Rückert, a 19th century German Romantic poet and scholar, she mostly uses acoustic instruments for Rückert's texts and more electronic backing for her own. Helping with creating the serene atmospherics is Martyn Bates of 80's romantic new wavers Eyeless In Gaza. "So Quiet Here", "Come in" and "At Midnight" also feature cellos, the latter carrying a Middle Eastern vibe. "Lost to the World" is more Chinese flavoured, these world music references probably derived by the fact that Rückert was primarily known as an orientalist. "Fragile World" is a beautiful new wave song, with music reminiscent of Cure's more lyrical moments. "That We Have Been Here" has a mid-tempo, almost atonal, electronic backing but the following track "Longing Stilled" astonishes with its luminous melody, chamber music strings and what sounds like a plucked instrument playing a vaguely oriental tune. "Nightship" begins with a mid-tempo electronic percussion and, from now on, the music resembles Clark's electronic 80's heyday. "Seize the Vivid Sky" expands on the thoughts expressed on the album title "Take in every breath deep enough to fly/Away from lies these changes have forced into our lives/Up into a tranquil place that's constantly denied/Far from the crushing power which brought me to my knees/ Earthbound, justice stays always out of reach/Disobey/Defy/Take your own time/Fly". With its rousing beat, melodic synth lines and defiant vocal delivery, it is Anne Clark at her best, one to rival her big hits like "Our Darkness". "The Haunted Road" is the most upbeat track, bordering on techno. As such, it's been chosen as single and known various remixes. "I of the Storm" is a...well, let's say stormy number with the band wreaking havoc and vocalist shouting at the top of her lungs. An unsettlingly loud epilogue for an album that started off so gently. I was very satisfied with Anne Clark's acoustic approach and eager to listen more in the same vein. I continued with the live album "From the Heart", which I aim to present on a later occasion.

**** for Fragility, Longing Stilled, Seize the Vivid Sky
*** for Introduction: Flight Through Sunlit Clouds, So Quiet Here, At Midnight, Come in, Nightship, The Haunted Road

** for Lost to the World, That We Have Been Here, I of the Storm

Swans "Love Of Life" 1992****

The Swans became initially known as an experimental noise-rock band that sprung out of New York's No Wave scene, an early incarnation of them also featuring Sonic Youth's Thurston Moore. The driving force of the band was guitarist/vocalist Michael Gira, but for a long period of time, he shared vocal and songwriting duties with keyboardist Jarboe. Jarboe's presence in the band coincided with a mellower acoustic sound - let's call it dark folk. This is only one of the ingredients in the (delicious) musical swan soup we're served here, however. Industrial, Goth and New Wave are just as vital. The presence of two lead vocalists allows us to change moods, as Jarboe's lighter, melodic vocals are counteracted by Gira's sombre baritone. Opener "Love Of Life" is a winner, dark yet accessible, propelled by tribal drums reminiscent of Joy Division or Siouxsie and the Banshees. "The Golden Boy That Was Swallowed By The Sea" is a dramatic ballad, this time with a whiff of pornography-era Cure. Curiously enough, Gira's tone also reminds me of the Byzantine psalms I grew up hearing in (Greek Orthodox) church. The album is interspersed with (unnamed) spoken word or musical snippets and, after two of those, we hear the first Jarboe lead vocal, a beautiful ballad with piano called "The Other Side Of The World". "Her" also starts off as a romantic acoustic number, but it is interrupted halfway by buzzsaw electric guitars and brutal drumming, later giving way to a teenage girl in the 60's speaking about the musical and youth revolution that went down in history as Summer Of Love. "The Sound Of Freedom" is a folkier song with a ringing quality that takes me back to Velvet Underground's debut. "Amnesia" is a goth rocker with hints of Joy Division and Sisters Of Mercy, also featuring some snaky oriental keyboard. "Identity" is an eerie atmospheric piece narrated by a child. After another short interlude, we continue with "In The Eyes Of Nature", another dramatic goth piece with pounding drums and pianos and atmospheric synths. After those, "She Crys (For Spider)" is like balsam, with its gorgeous melody and angelic Jarboe vocal. "God Loves America" is a funereal ballad lamenting the natural disasters brought by greed and consumerism: "All across America/The poison fires glow/And in the blood of our procreation/Annihilation grows...". Yet another snippet follows and the album closes with the stark acoustic ballad "No Cure for the Lonely". All in all, "Love Of Life" is an excellent album that will satisfy anyone with a  penchant for dark and atmospheric music. Keep your eyes open and if you see a copy in your neighborhood second hand store, don't hesitate. It's out of print and a new copy may cost you an arm and a leg. UPDATE: The album has now been re-released, both on standalone vinyl and (combined with White Light From The Mouth Of Infinity) on CD. **** for Love Of Life, The Golden Boy That Was Swallowed By The Sea, The Sound Of Freedom, Amnesia, She Crys (For Spider) *** for The Other Side Of The World, Her, Identity, In The Eyes Of Nature, God Loves America, No Cure for the Lonely

Les Vice Barons "Steel Blue Moods"1997***

Right now I'm sitting in my small studio apartment in Brussels, listening to Les Vice Barons and drinking ice-cold strong Belgian beer (Delirium Tremens, since you ask - yes, the one with pink elephants on the bottle). The weather outside is very atypical of Brussels and can only be described with the Greek word κουφόβραση, which the always reliable (lol) google translate explains as: humid heat or sultriness. Somehow I think these words can also be applied to the music at hand. Les (or sometimes The) Vice Barons are fellow Bruxellois and are probably also steaming right now, a few blocks from here. The sixties esthetic, gun and femme fatale on the cover are indicative of the music within, instrumentals in thrall to the surf music of Davie Allan and 60's crime thrillers as scored by the likes of John Barry. The album is really good, if you like instrumental surf music. For me, a whole album of it is probably a bit too much. I certainly enjoyed the opener "Surfsploitation", a fast piece with tremolo guitar right out of the Pulp Fiction movie. In retrospect, half the album is variations on the same theme, but I think the first one is the best. "Like Weird" is a mid-tempo spy movie theme with the organ in the forefront while "Shaft In Matongue" combines funky wah wah guitar with surf music sax and guitars. Kudos for originality, boys! "Timebomb" is a classic instrumental and the band nails it. One of my favorite features of this band is their use of the keyboards. Here, like in most of the album, the organist plays the guitarist's sidekick (The Robin to his Batman) but he does a great job at it. "No Way To Behave" is the only vocal track, a country/soul ballad and "9.10" a fast instrumental with oriental and spacey effects."Big Head", "Fuel Injection", "Hangover Special" and "Unabomber" are likewise fast-paced surf instrumentals. Taken one at a time, they're enjoyable but all at once they become rather tiresome. "Werwolf" is a slow surf song and the album closes with John Barry's theme for classic TV series "The Persuaders".

**** for Surfsploitation, Timebomb

*** for Like Weird, Shaft In Matongue, 9.10, Big Head, Hangover Special, The Persuaders

** for No Way To Behave, Fuel Injection, Werwolf, Unabomber

Ponderosa "Pool Party" 2012**

I bought this by chance as part of a special offer. I think it was something like 3 CDs for 5€ and I had already chosen the other two, so I took a gamble and picked up this title by Ponderosa, whom I had never before heard of. This is the Atlanta band's second album and it came apparently as a shock for those who liked their roots rock debut. This one is all about atmospherics, with harmony vocals, dreamy keyboards and psychedelic guitars, everything sounding a bit hazy and covered in reverb. The Byrds, Neil Young and Pink Floyd may be indirect influences but the album's sound is more indie pop than classic rock. Opener "Here I Am Born" sets the template with its acoustic guitar intro and Fleet Foxes harmonies, allowing itself to rock out slightly towards the end with some unruly drumming. "Black Hill Smoke" is a well-mannered slow song and lead single "Navajo" is a relatively upbeat number with a catchy chorus that reminds me of a sturdier Coldplay. It's followed by delicate ballad "Never Come Back" (possibly the best of the bunch) and the REM-like "Pool Party". "Heather" and "Nile" are a couple of beautiful but rather subdued songs, while "Get A Gun" introduces synths and electronic drums and "On Your Time" is the most rockin' song  here and only the second to rise above the slumber (after "Navajo"). Finally, "Cold Hearted Man" closes the CD with a kind of folk lullaby. Ponderosa's "Pool Party" displays many virtues but suffers from a certain sameness and overtly slow tempo. Where those traits are coupled with great songwriting (Radiohead, Mercury Rev, REM's "Automatic For The People") the results can be magical. Sadly this is not the case here. The album does flow nicely and makes for pleasant listening but it hasn't much to distinguish it from the competition and made no lasting impression to me. One to watch for the future, maybe...

**** for Navajo, Never Come Back

*** for Here I Am Born, Black Hill Smoke, Pool Party, Heather, Get A Gun, On Your Time

** for The Nile, Cold Hearted Man

The David "Another Day Another Lifetime" 1968***

When I presented Goliath's album a couple of months ago, I promised I'd do the same with his (the biblical figure's, not the band's) nemesis, David. Like Goliath the band, David the band only made one, initially neglected, album which nevertheless somehow survived and keeps getting rediscovered. When I bought my own cd copy (reproduced from a dubious source and reissued by the French Eva label), it was still a rarity of which almost nothing was known. But this time when I searched the internet for some info, there was plenty available (as well as a good quality reissue on sale, albeit with a different cover). Now we know, for example, that the band were still in their teens when they wrote this material. The photos on the cover gave certainly some indication as to that, but the musicianship is such that it's hardly believable. Credit for the full and mature sound should also go to manager-cum-producer Steven Vail and to arranger Gene Page for his lush string and horn arrangements. I generally dislike heavily orchestrated psychedelia as the songs are often drowned in syrupy strings, producing generic pop - the obvious exception being, of course, Love's magnificent "Forever Changes" album. "Another Day Another Lifetime" does not scale those hights but the arrangements remain original and interesting. Despite that fact, I still prefer their rockier moments like the album's farfisa/fuzzguitar dominated lead single "I'm Not Alone". Because of their baroque arrangements the David are routinely compared to the Left Banke, but I'm mostly reminded of a far more adventurous group of youngsters called The West Coast Experimental Band. Opening medley "Another Day.../I Would Like To Know" is rich orchestral psych with strings, horns and sitar. "Sweet December" displays some great Doors-like keyboards and "Tell Me More" adds Byrds-y jangle to the mix. In "Now To You" the orchestra unfortunately overwhelms the band. "Professor Crawford" successfully blends heavy fuzzed-out guitar with sweet harmony vocals. "Time M" and "Mirrors Of Wood" are inventive psychedelic pieces combining Beatles-like melodies, haunted organ and weird sound effects. "So Much More" is one of those occasions that the strings do add to the song, lending a dramatic quality to an otherwise unexceptional tune. The last track "To Our Other Days" is a whimsical folk/pop tune with a childish quality a la Donovan that constitutes a weak send-off for an otherwise strong album - or maybe it was meant to provide some light relief. Listening to the album for the first time after more than 10 years has greatly improved my opinion of it. At the time I was only keen on garage rock and really couldn't bother with the sunshine pop of the era, but now I can acknowledge it as a minor psychedelic classic bridging the two aforementioned genres. A nice period piece, highly recommended to all lovers of psychedelic rock out there.

**** for I'm Not Alone, Sweet December, Time M

*** for Another Day, Another Lifetime, Would Like To Know, Tell Me More, Professor Crawford, So Much More, Mirrors Of Wood

** for Now To You, Of Our Other Days 

The Pretty Things 'n' Mates "Rockin' the Garage" 1992 ****

The Pretty Things or...The Band That Greatness Eluded. In 1962, guitarist Dick Taylor and bandmates Mick Jagger and Keith Richards joined Brian Jones and Ian Stewart in a band they named after Muddy Waters' song Rolling Stone. Taylor was moved from guitar to bass, as there were too many guitarists. Not satisfied with that arrangement, he set off to create his own group, which he also named after a Chess R&B hit (Bo Diddley's "Pretty Thing") with the goal of becoming London's premiere R&B/R&R band...only to be beaten at this game by his former bandmates. As early as 1966, the Pretty Things recorded a song called "L.S.D." and set off to head England's psychedelic revolution, but were immediately superseded by an upstart band calling themselves Pink Floyd. Then, in 1968 they released the first rock opera/concept album which followed the life of its protagonist S.F. Sorrow, beginning with his birth ("S.F.Sorrow is Born"). But did they get the recognition? No, because in 1969 The Who published their own (erroneously but widely considered as the first) rock opera "Tommy", which followed the life of its protagonist Tommy Walker, beginning from his birth ("Overture/It's A Boy"). Despite the support from Led Zeppelin who signed them on their Swan Song record label, things went downhill after that and I lost track of them sometime in the early 70s. Then I found this cd in the used bin of a Rotterdam record store. Normally I wouldn't have bothered with a late Pretty Things recording (recorded in 1992 but released much later). Nevertheless the title hooked me (I confess I'm a huge garage rock fan) and they do cover all my favourite garage nuggets. Now, garage cover albums are a dime a dozen, but these are no second generation garage rockers -these are the guys who, along with other British Invasion groups, influenced the first generation. Next to Phil May & Dick Taylor of the 'Things, you have members of roots rockers The Inmates and Matthew Fischer of Procol Harum fame plus, for the bonus track, members of the Downliners Sect and The Yardbirds. Is it worth it, you ask? Damn well, it is! Unlike the Stones, these guys still ROCK! They do a ripping version of their own "Midnight To 6 Man" and really rock it out on versions of Sonics, Seeds and Standells oldies. I wonder if they ever considered antagonizing their old rivals by doing a Stones song. Anyway, it's just an album of covers, so it won't change your world, but crank it up and you'll soon be having a party in your living room!

Tracklisting: He's Waitin' (The Sonics)****, Strychnine (The Sonics)****, Pushing Too Hard (The Seeds)***, Kicks (Paul Revere & The Raiders)***, Candy (The Strangeloves)**, Louie Louie (The Kingsmen)**, 96 Tears (? And The Mysterians)***, Let's Talk About Girls (Chocolate Watch Band)**, Sometimes Good Guys Don't Wear White (The Standells)****, I'm A Man (Bo Diddley, bonus track)***, Red River Rock (Johnny & The Hurricanes)***, Midnight To 6 Man (The Pretty Things)****

P.S. They were supposed to visit my town Delft last year as part of a 50 Year Anniversary Tour (yes, the band were actually 51 years old - the old geezers are actually hiding their age). I was looking forward to it, but unfortunately their Dutch tour apparently fell out...