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 

Franck Carducci "The Answer" 2019***

I had never before heard of Franck (sic) Carducci until a couple of visting friends from England persuaded me to accompany them to one of his concerts at nearby Poppodium Boerderij in Zoetermeer. They promised me a great show, and he certainly delivered: he's quite a character, in his fancy velvet jacket, top hat, and double necked guitar. He's ably complemented by his partner Mary, who contributes vocals, guitar, dancing, and the impressive ability to play the theremin using her whole body; the rest of the band are also quite profficient both as musicians and entertainers. Originally French, Carducci apparently now lives in the Netherlands, although I'm not aware of him performing here very often. After the show we hung around for a while with the band and support act Joe Payne (formerly of The Enid), and bought some CDs and DVDs, one of which was The Answer.

I can't remember whether they played any other tracks from this one, but the first couple of them were among the highlights of the night: "(Love Is) The Answer" is a 70's style acoustic based prog rocker featuring tremendous Rick Wakeman-like keyboard solos. These are curtailed in the CD bonus radio cut version; if you're even a bit of a proghead you'll certainly want to go for "the full monty". "Slave to Rock 'n' Roll" is another kind of song entirely, a hard rock anthem that reminds me of Rainbow - albeit of the short-lived Graham Bonnett era. "Superstar" is a duet with Mary that, at 12,5 minutes, manages to incorporate many different ideas in true prog fashion. It features some tasteful synth and rousing guitar, but feels a bit disjointed and overlong for my taste. "The After Effect" is heavier and more exciting, somewhat reminiscent of Dream Theater. Only 10 minutes, this one. "The Game of Life" is a nice little ballad - I especially like the piano that drives the piece and trumpet at the background. But I do have a nagging sense that Franck is attempting to sing a text that wasn't written with a melody in mind, which makes his vocal sound a bit awkward. "Asylum" is the last of the long tracks (11+ minutes). The first half is bluesy hard rock reminiscent of Bad Company or David Coverdale; the second half is once again a patchwork, with a soft ballad excerpt followed by some awesome Hammond-based jazz rock and drum and guitar solos, before returning to the bluesy hard rock - this time I want to say Thin Lizzy? "On the Road to Nowhere", a live bonus track, is a country-ish acoustic song with nice harmonies. Now that I think of it, they probably played that one at De Boerderij too, it just didn't make as much an impression to me as the first couple of tracks on this CD. It's followed by another ballad with a nice synth intro ("Beautiful Night"), while the CD closes with two more bonus tracks, the radio cuts of "(Love Is) The Answer" and "Slave to Rock 'n' Roll". In this incarnation, both songs sound like radio hits from the late 70's - early 80's. Too bad we don't live in the age of FM radio but in that of youtube and Spotify; I guess Franck was born a few years too late for rock'n'roll stardom.

**** for (Love Is) The Answer, Slave to Rock 'n' Roll, The After Effect, (Love Is) The Answer (radio-cut), Slave to Rock 'n' Roll (radio-cut)

*** for Superstar, The Game of Life, Asylum 

** for On the Road to Nowhere, Beautiful Night