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 

Various Artists "This Can't Be Today - American Psychedelia & The Paisley Underground 1977-1988" 2026(comp)****

Eighties music always gets an awfully bad rep; I guess that's to be expected if one judges from the era's hit parade and dominant production techniques. But to me, a teenager of that era, it was a time of exciting musical discoveries; yes there was very little of value on the MTV, but we had pirate radio - until the late 80's when the state monopoly of the airwaves was lifted, that is. Rock FM 969, the first station dedicated to rock music, was established in 1989. Until then, our main sources of musical education were pirate radio, music magazine pop + rock, and above all the mix tapes we exchanged with friends. The music bars around Exarchia also introduced us to some great bands: staples of the time included the Violent Femmes, Gun Club, Fuzztones, as well as some of the groups featured in this compilation. I started building my record collection in the mid 80's; I bought very few new LPs, only those by bands I absolutely wanted to have; instead I bought slightly older "nice price" releases or used vinyl - since information was scarce, my record buying habbits were largely guided by instinct and price: if I had read or vaguely heard about a band that sounded up my alley, and the price was right, I'd risk buying their record. Album covers played a big role; paisley or psychedelic designs, or fonts similar to 60s psychedelic, would always catch my eye. Certain record companies, too: Bomp, Voxx, Dionysus, Skyclad, Midnight Records, German indie Music Maniac: all these released a slew of garage/neo-psychedelic records. All through the late 80's and early 90's I collected everything garage/psych- related I could get my hands on, either the original 60s stuff or neo-psychedelic revival. A lot of them disappeared during the great vinyl purge, but a relatively big chunk (compared to vinyl of other genres) has stayed with me, to this day.

A month or two ago, I read about this release in Mojo Magazine. I've always had a soft spot for paisley underground bands, so, knowing that Cherry Red Records has done a great job anthologizing other periods/genres, I ordered the box set from Amazon. It consists of three CDs in a sturdy clamshell box. Each CD has 20+ tracks, making up a total of 67. There's a mix of relatively well-known songs and rarities, some by future stars and some by others who went unnoticed at the time. As it turns out, I already had many of the songs in my collection, mostly on vinyl, but hadn't listened to them in a while. It's nice to hear them again now, in this kind of mixtape situation. The same goes for some LPs that I sold when I had to radically downsize my vinyl collection in the early 00's. I now have to re-evaluate my choices; I probably shouldn't have parted with The Rain Parade's Emergency Third Rail Power Trip. The two songs included here are ("What She's Done To Your Mind", "This Can't Be Today") are fine examples of Byrds-y neo-psychedelia with beautiful harmonies and jangly guitars. I guess that at the time I thought it was a bit too tame; I prefered bands that were louder, and more faithful to 60s garage as evidenced in the Nuggets, Pebbles, etc. compilations. There's a healthy dose of those here, and it's telling that most of these albums have stayed in my collection: The Tell-Tale Hearts, Prime Movers, Yard Trauma, Cynics, Mod Fun, and others. Plan 9's "White Woman" (1984) is a Seeds-like garage rocker, while The Vertebrats' "Left in the Dark" (1981) was one of the highlights of the classic Battle Of The Garages comp.

 

The Last's "She Don't Know Why I'm Here" is the oldest track here (1977), and the one that opens this (more or less chronologically ordered) comp. The Last came out of the L.A. punk rock scene, but played in a more melodic, 60s- influenced, style. Chris Bell's 1978 "I Am The Cosmos" probably doesn't belong here; Big Star's co-founder may have influenced some of these bands but belongs to a previous generation.  R. Stevie Moore's "I Go Into Your Mind" (1979) is a dreamy keyboard ballad, The Fans' "True" (1980) is power pop, and The dB's 1981 demo "Nothing Is Wrong" is a trippy ballad influenced by Big Star. As Californian post-punk bands began to embrace a softer garage sound, often embellished with country brushstrokes, a localized 60's revivalist movement appeared which was inspired by West Coast flower power rather than the punkier 60's sounds from Michigan or the Northwest. It became known as the paisley underground (PU), as these musicians favored vintage 60's gear and clothing. A typical example is Action Now, whose song "Try" was recorded for a compilation curated by influential DJ RodneyBingenheimer. It had all the PU hallmarks, but wasn't a hit, which led to guitarist/songwriter/backing vocalist Paula Pierce to leave and start her own, all-female, group: The Pandoras' gutsy music and Paula's snarly delivery evoked the bands that reigned in the Sunset Strip club scene circa 1966, like The Standells and Chocolate Watch Band. They made two amazing 60's sounding LPs and an ill-advised pseudo-metal one, before Paula tragically died of an aneurysm at the age of 31. Another all-female PU band had much better luck: The Bangs, led by Susana Hoffs and the Peterson sisters, also started out playing garage rock; softer than the Pandoras, their 1981 debut "Getting Out of Hand" is a playful garage pop single with Beatles-inspired harmonies. Legal action by another group obliged them to change their name, initially to The Bang-less, and then The Bangles. We get one more 60's-sounding track from their same-named EP (1983); already they had gotten more professional and commercial-sounding with the help of Blondie producer Craig Leon. Pretty soon they'd become one of the bigger pop groups of the era, leaving the PU scene behind. From the same year, sisters Kristy & Kelly Callan-fronted Wednesday Week offer more upbeat and melodic garage pop.

 

On the more psychedelic/experimental side, we get "Office Skills" (1980) and "Euphoric Trapdoor Shoes" (1983) by Plasticland, True West's Tomorrow/Pink Floyd sounding "Steps To The Door" (1983), and the ghostly "Nothing Is Saving Me" (Translator, 1982). Now that I think of it, the latter also has similarities to early Cure. Other songs giving off a mysterious/horror vibe are "Sheez Wycked" (The Twisted) and Human Expression cover "Every Night" (The Suburban Nightmare). Both songs feature fuzzed out organ and tortured Cramps-like vocals - in the latter case by Blag Dhalia, later to find notoriety with The Dwarves. Bands with a more contemporary new wave sound include Wire Train, Darius And The Magnets, and Al Bloch; his "Hanging Around" shares more than a title with The Stranglers. My favorite PU band was The Dream Syndicate; I must have seen Steve Wynn, either solo or with Dream Syndicate ten times. Their music wasn't as sunny as other bands of the scene; there was a definite influence by Velvet Underground and Neil Young & Crazy Horse. The two tracks included here ("Sure Thing" and a cover of Young's "Mr. Soul") were recorded Live at KPFK Radio in '82, a nice bonus for fans like me who already own their official discography. Green On Red's "Death And Angels" comes from their 1982 debut album recorded when they were still based in Tucson AZ. Later they'd move to California and adopt a more country-ish sound, although drummer Van Christian stayed behind and co-founded Naked Prey, who are represented here by the half-spoken heavy blues "The Story Never Ends" (1984). A similar path was followed by The Long Ryders: "And She Rides" (1983) is more garagey, while next year's "Too Close To The Light" signifies a move towards country rock. Sid Griffin of the Long Ryders as well as Yard Trauma's Lee Joseph started out, together with singer Shelley Ganz, as The Unclaimed. Their 1980 track "Deposition Central (The Acid Song)" is mid-tempo psychedelia; not what I expected, as I have a mini LP from a later incarnation which took a more frantic garage punk approach. That later incarnation featured Rich Coffee on guitar, who would soon also leave to form his own band, Thee Fourgiven. A 1985 track by them is included here; it's a somewhat more muscular garage rock with Doors-like vocals and a 13th Floor Elevators drone. Back to the sunnier sounds often associated with California, bands utilizing jangly Byrdsian guitars and Beatles-like harmonies include The Point (1983's "Magic Circle" features a baroque harpsichord break a la The Left Banke), Tommy Keene, The Reverbs, Dreams So Real, The Impossible Years, Dumptruck, and 28th Day. Another band with a jangly guitar sound whom you wouldn't initially think of bundling with the rest here, were Athens GA's REM - yet "Gardening At Night" from their debut EP fits very well with the rest. 

Other bands one does not normally associate with the PU sound because of their punk/hardcore pedigree are Redd Kross (here with an excellent cover of The Stones' "Citadel"), Hüsker Dü, and The Meat Puppets, whose second album is a pre-grunge/country/psych masterpiece. Nirvana covered no less than 3 songs from Meat Puppets II (1984) in their MTV Unplugged LP, including "Plateau" which also appears here. The Droogs are also a band apart; formed in 1972 they kept the garage-psych flame alive, existing at the margins and only releasing thir first LP Stone Cold World in 1984. I will never forget seeing them at a beach festival in Athens around 1990; they had flown in late the same night, and when they reached the festival grounds they expected it all to be over. Instead, everyone was still there and in high spirits; the band went onstage around 3:00 in the morning and played almost until dawn. The Eyes Of Mind's discography consists of a sole mini-LP (Tales Of The Turquoise Umbrella, 1984) which is still in my collection. "With You Again" is a melodic piece reminiscent of UK popsike circa '68. The Three O'Clock are quite similar, but for some reason I sold their LP during the Great Vinyl Purge. I seem to remember thinking it was too poppy, sound too clean, vocals too sweet. "Her Head's Revolving" (which is included here) proves me wrong: it's rocking a la early Pink Floyd, with nice psychedelic guitar effects. According to the booklet, Prince was a fan of the band; his composition "Manic Monday" was inspired by Three O Clock; he gifted the song to The Bangles, providing them with a huge international hit. Disc 3 of the compilation covers the second half of the 80's; it opens with The United States of Existence's "Welcome Tomorrow, Goodbye Today", a song that reminds me of the band Tomorrow, with its swirling organ and sitar. The Flaming Lips peaked around the turn of the millenium, but they've been around for a long time. "With You" from their 1986 debut alternates acoustic folk psych with loud distorted guitars. Camper Van Beethoven's "Circles" employs classic experimental tricks like backwards vocals, psychedelic effects, and exotic sitar. Atlanta's Drivin' N Cryin' later found fame with a heavier Southern Rock sound, but "Count The Flowers" (1986) is a powerful 60's-style pure garage/psych rocker. At the other end of the musical spectrum, Game Theory's "Regenisraen" is an elegant acoustic ballad with Simon and Garfunkel-like harmonies.

 

LA's The Things ("You Can't Deliver", 1986) walk in the footsteps of 60's bands like Love and The Byrds, while Flying Color ("Dear Friend") and Winter Hours ("Hyacinth Girl") bridge the 60's with the contemporary indie folk of The Smiths and Stone Roses. The Steppes, fronted by Irish singer-songwriter brothers John and David Fallon, relocated to LA, joining the local scene and therefore earning a place in this, US-only, compilation. They're one of my favorite bands of the era, reminsing me of early Pink Floyd and UK 60's band The Kaleidoscope. The Green Pajamas are another favorite; I own a few of their albums as well as a solo one by Jef Kelly. Kelly's voice reminds me of Donovan, Marc Bolan, and Paul Roland. "Kim The Waitress" is a nice piece of romantic psychedelia, dominated by distorted sitar. The only track hailing from 1987 is The Inn's "What's It Like", a garagey folk rocker. The final 5 tracks all come from 1988: Absolute Grey's "For Some Reason" is alt-rock with trippy vocals, The Cynics' "Took Her Hand" is pure 60s-style garage punk, while The Sneetches' "Home Again" is Kinks-like 60s pop. Dead Moon, as I've mentioned before, are the band that, to me, perfectly embody the spirit of authentic rock and roll; "Graveyard" evokes the 13th Floor Elevators, with 60's veteran Fred Cole proving an equally good screamer to Roky Erickson. The box set closes with Ultra Vivid Scene's "Mercy Seat", dreamy hypnotic psychedelia that seems to presage the 90's shoegaze genre. All in all, this is a hearty compilation that embraces all the facets of the neopsychedelic/paisley underground 80's phenomenon with meaningful detours into classic garage punk, mainstream alternative rock, jangly indie pop, and new wave. For myself, it's both a trip to memory lane and an educational introduction to music that aligned to my taste but had escaped my attention at the time. At 67 tracks, This Can't Be Today offers an embarassment of riches for what is nowadays the price of a single new LP.

***** for The Vertebrats - Left in the Dark, R.E.M. - Gardening At Night, The Long Ryders - And She Rides, The Rain Parade - This Can't Be Today, The Pandoras - It's About Time, Meat Puppets - Plateau, The Tell-Tale Hearts - Come And Gone, The Steppes - Sky Is Falling, Dead Moon – Graveyard

**** for The Last - She Don't Know Why I'm Here, Plasticland - Office Skills, The Bangs - Getting Out of Hand, Chris Bell - I Am The Cosmos, The Fans - True, Green On Red - Death And Angels, The Unclaimed - Deposition Central (The Acid Song), The Dream Syndicate - Sure Thing (Live at KPFK), Translator - Nothing Is Saving Me, Al Bloch - Hangin' Around, Wednesday Week - Sad Little Dog, The Rain Parade - What She's Done To Your Mind, True West - Steps To The Door, The Point - Magic Circle, Wire Train – Everything’s Turning Up Down Again, Darius And The Magnets - Saturday At 3:00 P.M., Plan 9 - White Women, Redd Kross - Citadel, Droogs - For These Remaining Days, Naked Prey - The Story Never Ends, Bangles - The Real World, The Long Ryders - Too Close To The Light, The Three O'Clock - Her Head's Revolving, The Eyes Of Mind - With You Again, The Impossible Years - Flower Girl, Thee Fourgiven - Anything, The Romans - Vicki Seventy, The Prime Movers - True To Me, The Suburban Nightmare - Every Night, Yard Trauma - Must've Been Something I Took Last Night, The United States of Existence - Welcome Tomorrow, Goodbye Today, 28th Day - 25 Pills, Dumptruck - Back Where I Belong, Hüsker Dü - Hardly Getting Over It, The Flaming Lips - With You, Game Theory - Regenisraen, Drivin' N Cryin' - Count The Flowers, The Things - You Can't Deliver, Flying Color - Dear Friend, Winter Hours - Hyacinth Girl, The Green Pajamas - Kim The Waitress, Mod Fun - Hope It's Today, The Inn - What's It Like, Absolute Grey - For Some Reason, The Cynics - Took Her Hand

*** for The dB's - Nothing Is Wrong (Demo), Action Now – Try, Tommy Keene - Mr. Roland, R. Stevie Moore - I Go Into Your Mind, Plasticland - Euphoric Trapdoor Shoes, The Dream Syndicate – Mr Soul (Live at KPFK), The Reverbs - Picture An Eye, The Twisted - Sheez Wycked, Dreams So Real - Everywhere Girl, Thin White Rope - The Three Song,  Camper Van Beethoven - Circles, The Sneetches - Home Again, Ultra Vivid Scene - Mercy Seat

Buckingham Nicks "Buckingham Nicks" 1973 (orig)***

I resent the fact that this album was re-released 4 months ago, and now looks at me from the front window of every record store in the world. I do, because it was among the rarest albums in my collection. I mean, a pre-fame LP by Buckingham and Nicks, the duo behind Fleetwood Mac's transformation from white blues copyists to huge pop stars? One that fell between the cracks and hadn't been reissued for 50 years, only heard by a select few, one of which was myself? What was I thinking, not presenting it when I could gloat that I am a proud owner of such a rarity? Now, even Limb Mary has a copy - I'm told it sold 30.000 copies in the first week of its release, in US alone. I will present it now, but I'll drop a star because it's become so common. This isn't one of those albums I ever sought after; I just happened upon it, which is one of those moments that make physical record hunting so much more satisfying than online buying. I used to work in a dental practice in The Hague, and had noticed an address on googlemaps with a title like Whatsitsname Records, a few blocks away. When I was mapping the city's record shops for this blog I went by and couldn't find the place, but on a day with nice weather that I had finished work early I decided to take a walk and make another try. This time I happened to catch it open, or at least the door was open; it was just a private house with no sign on the door. Doesn't function like a record store, the guy probably only sells online or at record fairs. The front room had a couch, some audio equipment and stacks of records, mostly techno 12'. The owner told me there were more records in the back, and indeed there were more stacks: electronic music, but also a lot of funk and disco which I mostly didn't recognise, as well as a few pop-rock ones. At first glance, the nude album cover looked like a typical 70's disco LP, but when I saw the names and looked closer at the couple's faces, I realized these were Lindsay Buckingham and Stevie Nicks from Fleetwood Mac. I knew that they used to perform together before they joined Mac, and I may have known but forgotten that they had ever released an LP as a duo. Because, if it was any good, it would be right up there with their later work, right? I nevertheless knew that I had a rarity in my hands, and being a fan of Rumours-era Mac, I was eager to hear how they started. So, I asked about the price, and it was a surprisingly modest €20 or something.

So I payed, went back home and put the record on my turntable. I had no preconception, but because of the duo format I kind of expected a collection of acoustic ballads or something similar. So it was a very pleasant surprise when the opener "Crying In The Night" sounded like an outtake of Rumours-era Fleetwood Mac; a smooth soft-rock ballad with Stevie's characteristic voice and nice harmonies, it's followed by a charming acoustic guitar piece called "Stephanie". "Without A Leg To Stand On" is  pleasant but unremarkable, it somewhat reminded me of 70s Kinks. The next track "Crystal" sounded familiar - the reason being, that it was revived by Fleetwood Mac after the couple joined them. This first version has a more typical Californian sound, reminiscent of Linda Ronstadt and The Eagles. It's followed by "Long Distance Winner" which to my ears sounds more proggish, Supertramp-like. No piano solos of course, but masterful electric guitar by Lindsey. Side 2 opens with one of their louder  rockers "Don’t Let Me Down Again". To me, it sounds like a precursor to "You Can Go Your Own Way" off Rumours. "Django" is another wistful instrumental showcasing Lindsey's guitar chops, while "Races Are Won" is a typical folk-rock ballad with country-ish harmonies, and "Lola (My Love)" a Southern blues with nice slide guitar. The album closes with another winner "Frozen Love" which encapsulates everything that's great about 70's rock: the smoothness of the West Coast sound, intricate folk harmonies, and prog rock intricacy, all spread over 7+ minutes. It was Lindsey Buckingham's guitar work on this track that made Mick Fleetwood invite him to join the band as lead guitarist. He insisted on bringing Stevie along, and that was the start of Fleetwood Mac's rise to stardom. Neither Mac nor Buckingham Nicks could have done it alone, but the combination of their songwriting and musical talents created pop genious. This album may not be up there with their best moments, but it's very, very good, and contains the seeds of their later success. The nude cover, I personally find very tasteful and concordant with the confessional nature of the lyrics, but I recently read a Stevie Nicks interview where she said she felt too awkward and embarassed by it. Who knew she was such a prude? Lastly, a word about the musicianship and production: it's no surprise that it sounds as good as it does, when you look at the credits: producer Keith Olsen, who later produced so many hits for mainstream artists, and studio aces like drummer Jim Keltner (Bob Dylan, Eric Clapton, solo Beatles), guitarist Waddy Wachtel (Rolling Stones, Warren Zevon, etc), and bassist Jerry Scheff (Elvis, The Doors, etc) - really the cream of the California session musicians. Highly recommended: 4* for my ® copy, 3* for yours. I don't care if yours is 180 gram colored vinyl, has booklets or other extras - I had it first. There!

**** for Crying In The Night, Crystal, Long Distance Winner, Don’t Let Me Down Again, Django, Frozen Love

*** for Stephanie, Without A Leg To Stand On, Races Are Won, Lola (My Love)

Téléphone "Enregistrements Originaux" 1977-1980 (1982 comp)****

So, it was a gap of exactly 40 years between hearing of Téléphone for the first time and buying a record by them, which I finally did last week after a trip to Paris - I have a tradition of getting records by local rock bands in every country I visit. The first time I heard of them was in the summer of 1985 during the first (and possibly best) Greek rock festival Rock In Athens. Which triggers a trip into memory lane; so if you're only want to read about the album, skip the red letters. The festival was part of the celebrations of European Capital of Culture, a new institution conceived by Greek minister of culture, former movie star Melina Mercouri and her French counterpart Jack Lange. As such, it was co-organized by the Greek Ministry of Culture with the help of a French concert promoter - which accounts for the inclusion of Téléphone in a line-up that also included The Clash, The Cure, Depeche Mode, The Stranglers, Talk Talk, Culture Club, and Nina Hagen: all New Wave bands either on the rise or at the height of their powers - with the exception of Téléphone, and of The Clash for whom it was the last concert ever. It could never have happened without the support of a progressive like Melina; the governing left-of-center Socialist party wasn't any different to the others when it came to its relation to underground youth movements. In the same year, the first punk LP by Stress was censored, and on November a 15-year old youth was shot by riot police in the aftermath of a big demonstration. Rock concerts of the time invariably ended up in riots and tear gas, and Rock In Athens was no exception. Another dark moment of the festival was the reception Culture Club got: they were booed and pelted with plastic bottles by homophobic members of the audience. Apparently Boy George's parting words to them were: "If I wasn't a nice lady I would have shown you my arse." At the time I was too young to attend the festival, but I followed the relevant news closely. Music writers were ecstatic but mainstream press was mostly derisive. I used to get the Sunday edition of Rizospastis (the official newspaper of the Communist party) for its extensive cultural insert, and was shocked by their vehemently anti-rock coverage; I distinctly remember reading that by inviting a band called The Stranglers, one glorifies violence and anti-social behavior, misguiding and corrupting youths. I was taken aback, because to me the communists were the good guys: they had formed the popular liberation army against the Nazis, fought against the colonels' dictatorship, and were at the forefront of the workers' rights and peace movements. Anyway, things would change pretty soon; in 1987 the KNE (Communist Youth) festival featured a reggae artist (Maxi Priest) for the first time. Unfortunately though, I missed it. You see, I was invited to the event by a girl called Julia who was also my high school's student council president. At some point, she introduced me to a slightly older guy who I suppose was her instructor. He starting giving me the speech: similar to that of insurance salesmen, only he wasn't selling anything, he was trying to get me to join KNE. That kept me busy for an hour, after which the rest of our company came back from the music stage at the other end of the festival grounds, raving about Maxi Priest and his band. I was so mad at Julia for luring me in like that and making me miss the show, you can bet I never spoke to her again! Anyway, rock wasn't the capitalist devil anymore. As I've written in a previous post, next year's KNE festival featured Ten Years After. Of course I went with a different company, a bunch of longhairs who weren't into politics, just rock. That also happened to be my first real rock concert.

As for Téléphone, I hadn't heard of them prior to 1985 - or since. At the time, their inclusion in Rock In Athens lineup ensured some coverage by Greek state radio and TV (not that we had any other kind). I wasn't impressed by what sounded to my ears as second rate New Wave, and that was the impression I had of them, until recently. Then I heard people mention them as "The French Rolling Stones" and thought maybe I should give them another chance - it's been after all 40 years, and my musical taste has evolved. So when I found this limited yellow vinyl reissue at a Paris record shop, I told myself it' do as a souvenir from our latest Paris trip. This compilation was initially released in 1982, and contains tracks from three LPs released between 1977 and 1980. Their eponymous debut (1977) almost justifies their reputation: "Hygiaphone" is pure Chuck Berry rockabilly, "Dans Ton Lit" sounds more like New York Dolls, and "Flipper" is a 6-minute long funk rocker. "Téléphomme" starts off as a bluesy ballad, but after 3 minutes turns into a hard rocker reminiscent of Rory Gallagher. From Crache Ton Venin ("Spit Your Venom", 1979) we also get four tracks, or is it five? "Ne Me Regarde Pas / Regarde Moi" consist a single track in the LP tracklist, but were split for the 7' single and are presented here apart: the former is power pop reminiscent of The Knack or Sniff'n The Tears, the latter an aggressive hard rocker. "Fait Divers" is rousing pub rock, while "J'suis parti de chez mes parents" is another straight-up rock'n'roller, and "Tu Vas Me Manquer" is among the best punk/funk hybrids not written by Ian Dury. The original vinyl LP had a transparent plastic outer sleeve; when it was removed, the inner sleeve revealed that the band had posed in the nude - the clothes were only painted over the naked photos on the outer sleeve! Judging from the tracks included here, Au Cœur De La Nuit (1980) is far less aggressive: "Le Silence" is acoustic blues, while "Laisse Tomber" is a more electric take on blues and soul. "Pourquoi N'Essaies-Tu Pas?", on the other hand, rocks as hard as their older stuff - a bit like Some Girls-era Stones, actually. The song selection for this compilation provides a good balance between rock, blues, punk and funk. 12 tracks, 6 on every side, is also a good number for a vinyl LP. It's not the ultimate Best-Of, though, as it omits some of their more popular singles ("Anna", "Metro C'est Trop", "La Bombe Humaine", "Argent Trop Cher") in favor of album-only tracks. What counts, nevertheless, isn't what's missing but what's there - and, based on that, this is one hot piece of Francophone rock'n'roll! There's been a limited reissue on yellow vinyl last year, but original copies are easy, and cheap enough, to find online.

**** for Hygiaphone, Dans Ton Lit, Fait Divers, Tu Vas Me Manquer, Téléphomme, Laisse Tomber, Flipper

*** for Ne Me Regarde Pas, Regarde-Moi, Le Silence, J'Suis Parti De Chez Mes Parents, Pourquoi N'Essaies-Tu Pas?

The Alpha Band ''Interviews" 1976-78(rec)1988(comp)***

When I saw this LP at the bargain bin in my neighborhood record shop, I initially thought it was an album of actual interviews. There are LPs out there only containing spoken word interviews, but these usually concern more popular artists, people like The Beatles, Doors, Nirvana etc. The Alpha Band aren't really in the same league, which made me curious enough to give it another look - and sure enough, it wasn't a spoken word album at all, but a best-of compilation. Now, all I knew about The Alpha Band was that T Bone Burnett was a member, but that was enough. I mean, he's involved in so many great albums in my collection, either as a musician or -more often- as producer. Surely his own records should also be worth listening? Not that The Alpha Band was a personal vehicle for Burnett - Steven Soles has an equal share in vocals, guitar, and songwriting, while David Mansfield's playing on violin, mandolin, and other instruments is integral to the group's sound. All three of them were members of Bob Dylan's legendary Rollin' Thunder Revue. Apparently, their chemistry was so strong that they elected to keep playing together even after the tour was over. Their eponymous debut The Alpha Band (1976) was recorded and released immediately after the tour ended, and was extremely well-received - by critics and music biz insiders, at least. To my ears, it sounds like an updated take on The Band's folk rock, incorporating power pop and new wave influences - I hear similarities to Elvis Costello and Tom Petty, especially in the first tracks ("Interviews", "Cheap Perfume", "Ten Figures"). "The Dogs" and "Last Chance To Dance" are more country-oriented - the latter features some inspired violin playing, too. From the second album Spark In The Dark (1977) we get "East Of East" (co-written, same as many other Alpha Band songs, by Bobby Neuwirth), electric blues "Spark In The Dark" and Dylan cover "You Angel You". The latter is performed in a Buddy Holly-like rockabilly style, and features one Ringo Starr on drums. Adopting a more commercial sound didn't improve sales, and neither did the famous guests - which may be the reason that their next album, The Statue Makers of Hollywood (1978) was to be their last. There's a strong religious theme to this one; actually, the only song that hits the mark for me is "Mighty Man", which sports a big, Cinematic, sound, and reminds me of the better tracks on Dylan's "Christian" albums from the same period. "Back In My Baby's Arms Again" is a repentant/moralistic country ballad, and "Rich Man" an overlong piece whose only saving grace is Mansfield's mandolin playing. In general, The Alpha Band display great craft in their compositions, playing, and orchestrations. For some reason, they were never as successful as other bands with a similar sound (Doobie Brothers, America, Bread etc.) but they certainly were their equals. Burnett, Soles, and David Mansfield went out of the limelight, producing and playing on other people's records, working on soundtracks, and releasing the odd, low-key, solo album. Their legacy as The Alpha Band is well worth discovering, and this compilation is a good place to start.

**** for The Dogs, Last Chance To Dance, You Angel You, Mighty Man

*** for Interviews, Cheap Perfume, Ten Figures, East Of East, Spark In The Dark, Rich Man, Back In My Baby's Arms Again

The Sick Rose ‎– Renaissance 1992***

If we were looking for one single person to represent the European garage rock scene, I doubt we could do better than The Sick Rose's Luca Re. Well, Billy Childish would also be a strong nomination if one still counts the UK as Europe. This band from Turin, Italy formed in late 1983 and was one of the first bands of its kind in Continental Europe. They started playing pure (if somewhat punked-up) 60's-style garage rock, but every new album took them further from their roots. Renaissance, which is the band's 4th LP as well as the last of their first period, sees them add punk, glam and hard rock elements. Radio Birdman, The Dictators and New York Dolls replace The Seeds, Chocolate Watch Band and 13th Floor Elevators as their most obvious influences. The supersonic guitars opening the album ("Cheating") immediately make the band's intentions known: forget the swirling Farfisas of their debut, they're going for a supercharged hi-energy rock'n'roll sound, with Luca Re being the sole connection (both physically and stylistically) with the original band. The highlights are mostly the faster numbers, including "The American Dream", "Jaildoor" and "Hunting For A New Love", all augmented with wild Jerry Lee Lewis-style piano. But there are also some nice slower songs, including psychedelic ballads "Abbie's Dolls" and "Now She Comes In Colour", as well as "My Kind" which nurses a stoner-style heavy groove for 7,5 minutes. "See The Glow" adds some typical metallic riffing, and the album proper closes with the acoustic "Restless Mind". The CD edition adds 3 cool bonus tracks: covers of Kim Fowley's "Big City" and The Standells' Stones-y "Barracuda", and another metallic original called "Deathwish". Renaissance seems to be the band's least loved album, which is selling it a bit short. IMO it is just as good as the two albums that preceded it (though maybe not as good as their historic debut Faces), it's just that it seems fans weren't ready to follow their latest change in direction. After that, Sick Rose disbanded with Re forming a band with a pure 60's sound called 99th Floor (we'll review their 2 albums in the future) before reviving The Sick Rose for the 21st Century. They're still pretty good for a bunch of older dudes, check them out playing "Cheating" on the clip below from a recent club gig.

**** for Cheating, Now She Comes In Colour, The American Dream, Hunting For A New Love, Barracuda

*** for Alive And Well, My Kind, Abbie's Dolls, Jaildoor, See The Glow, Big City, Deathwish

** for Restless Mind

Les Zazous ‎– Singles Party (The Best Of Les Zazous, 1983-2001)****

Apparently these guys are my neighbors (sort of). They come from Katwijk-aan-zee, about 30 km from my current home. I know that not all rock bands come from big cities like New York or London, but come on - Katwijk-aan-zee? It's a no-count seaside town in West Holland. There's a sandy beach which wouldn't be bad if it led to the Mediterranean, but who the hell wants to dive in the North Sea? I looked it up in wikipedia for something interesting to write about, and what do you know? In ancient times, it used to be the end of civilization. To the South (e.g. here in Delft), The Roman Empire: aqueducts, marble bathhouses, paved roads (all leading to Rome, of course). To the North, Germanic barbarians, specifically a tribe called the Chiatti. Between them, the Old Rhine and, right where Katwijk-aan-zee now stands, a Roman Fortress called Lugdunum Batavorum. Seeing as this used to be an unhealthy swamp in Roman Times, Batavorum must have been among the worst postings for a Roman soldier - possibly right after Petibonum, the fortress closest to Asterix's village.

The name of Les Zazous comes from a French proto-beatnik/mod youth subculture, you might like to check them out here. The band had been active from 1983 to 2001, a long time. They're often mentioned as playing neo-psychedelic or garage revival music, but to me it's just timeless power pop: from The Beatles and The Who to Big Star to The Raspberries to the British C86 movement, there's a tradition of melody, catchy choruses and jangly guitars, with the occasional loud riff to keep things from getting too sugary. That said, the first 5 tracks here coming from the band's last CD @Electric Babyland (1998) maintain some of the above characteristics while ditching the 60's influences - with the exception of the harpsichord and horns of the Sgt-Peppers-influenced "Sundaymorning 6 A.M.". The rest are pretty much typical 90's: "Aphrodisiac" has a bouncy dance beat reminiscent of baggy Brit-pop bands, while "This Town" and "Everybody's Watching Me" could be by any 90's American college radio band. From the Deadline EP (1998) we get the upbeat, Supergrass-like, eponymous number, and the melodic Big Star-like "Tell Me What You Want". Until here, it's all radio-friendly indie pop, good but somewhat generic. Folky ballad "Seven Seas" from Exota (1993) has more character, with distinctive accordion, bright acoustic guitar and nostalgic lyrics. "Crying In My Sleep" is another nice folk rocker, and "The Saddest Girl In Town" a ballad with pretty piano and strings, originally also from Exota! but included here in an alternate version. If I have any problem with what I've heard so far is that it's too commercial, too easy on the ear. So why were these songs not international hits? It may have something to do with the band coming from Katwijk instead from, say, Manchester or even Athens, Georgia. The next two tracks are a bit more interesting to me: rhythm and blues-style "Chain Gang" and Kinks-like "Another Town" from their debut Les Zazous (1987). The latter got played on John Peel's radio show , which resulted in a brief appearance in the UK Indie Charts. Another song that reminded me of The Kinks is the satirical (think "Dandy") previously unreleased "Rockstar In The Supermarket", while the melodic "Tears Will Tell On You" (from Pop, 1990) and more guitar-oriented "Inside Your Mind" (Wake Up Wake Up EP, 1986) are reminiscent of California's Paisley Underground scene. There's also a lively garage rock cover of The Stones' "Play With Fire" (originally the B-Side to the Tears Will Tell On You 7' single), while the CD closes with 3 previously unreleased tracks: a jaunty take on the theme from the musical "Hair", the Who-influenced "Farewell To Arms" (both from 1997), and swing "Django In New York" referencing the original zazou idol of the 40's, Django Reinhardt, and recorded during the band's early days (1985). This CD makes for an excellent compilation of should-have-been-hits, ranging from 60's-style mod psych to indie (Brit) pop. Worth listening to in any decade.

**** for This Town, Deadline, Seven Seas, Crying In My Sleep, Chain Gang, Play With Fire, Inside Your Mind, Another Town, Django In New York

*** for Aphrodisiac, Everybody's Watching Me, Sundaymorning 6 A.M., The Saddest Girl In Town, Tears Will Tell On You, Tell Me What You Want, Rockstar In The Supermarket, Hair, A Farewell To Arms

The Lemonheads "Lovey" 1990***

Like most people I discovered The Lemonheads with 1992's It's A Shame About Ray, one of the quintessential 90's indie rock albums featuring, among other songs, a power pop version of Simon & Garfunkel's "Mrs Robinson". Little did I know they had already 4 albums behind them tracking a course from post-hardcore punk to melodic jangle pop, and shedding band members on the way until Evan Dando was the only original member left. The transformation would be complete by the time of "...Ray", but here the band still featuring original bassist Jesse Peretz (currently a film/TV director) and guitar hero Corey "Loog" Brennan (currently a professor of classical studies) is in transition. Dando's love of melody takes the upper hand on lead single "Half the Time" (the blueprint for his future MTV hits: Byrds-like melody, emotional "wounded" vocals and distorted guitars), as well as power ballad "Ride With Me" and a cover of Gram Parson's country ballad "Brass Buttons". Opener "Ballarat" is a more muscular affair, loud and grungey but never devoid of melody. As with other of the heavier tracks, I'm reminded of Dinosaur Jr. "Stove" is catchy punk-pop and "Come Downstairs" a combination of the aforementioned styles. "Year Of The Cat" starts with an acoustic intro before straying in punk-pop/grunge territory. "Li'l Seed" is more atypical, a pro-weed anthem with shredding guitar, co-written with "professor" Brennan and reminiscent of The Wipers. Brennan's other contribution is "(The) Door", starting as another power ballad but escalating in the kind of metallic solos I would never have associated with The Lemonheads. Last but not least, "Left for Dead" is a pleasant punky tune based on a song by the infamous mass murderer Charles Manson and previously recorded by The Lemonheads under the title "Clang Bang Clang". Admittedly this album sounds somewhat awkward in its attempt to combine the new sensitive and melodic indie direction with the band's heavier past (it's telling that Atlantic totally ignored it when they compiled "The Best Of Lemonheads"). They'd settle into a better fitting and more commercial sound in the future, but it's the mix of all those disparate elements that make "Lovey" worth listening to now. Without them it'd just be an inferior Shame About Ray clone, and would want to listen to that? 

**** for Half the Time, Stove, Brass Buttons, (The) Door

*** for Ballarat, Year of the Cat, Ride With Me, Li'l Seed, Left for Dead

** for Come Downstairs

The Original Sins "Move" 1992***

I bought this album during a period I'd get anything labelled "garage rock" and actually enjoy them all despite a certain sameness. The Original Sins were never an A-list band, more like solid garage rockers notable for writing their own songs instead of just covering Sonics/ Nuggets 60's classics. After an increasingly well-received trio of releases, it seemed that by 1992 they were finally due to break out from the underground. Nirvana had just kicked the doors of the mainstream open for alternative rock bands, while singer-guitarist John Terlesky was apparently on a songwriting roll, coming up with enough material to fill a double album. The name of R.E.M's Peter Buck on the producer's chair was another good omen - the record came out precisely as R.E.M. reached their world-conquering commercial peak. The Sins have a distinctive sound that many compare to The Lyres, owing to the 60's influences and omnipresence of organ (although The Sins' Dan McKinney played a Korg instead of the standard garage bands' favorite Vox or Farfisa). Compared to The Lyres, they also had a wider songwriting range: Here you'll find guitar driven punk rockers reminiscent of Radio Birdman or The Godfathers ("Talking To You", "Like An Animal", "Hit Or Miss", "It's A Good Life", "Devil's Music", "Between The Lines"), 60's-style garage ("Watch You Dance", "Waiting", "Closing My Eyes"), catchy 70's power pop ("She's On My Side", "If I Knew", "All Good Things"), R&B party tunes ("Wake Up", "Move", "Feel So Fine", "Break The Chain"), and even slower melodic psychedelia and ballads ("I Surrender", "Getting The Feeling", "Forest For The Trees", "Nothing's Everything", "Not Today"). In retrospect, neither the large number of tracks (24) nor the relatively polished power-pop sound was a good idea. Songs that would have sounded great during the paisley underground days of the early 80's were too tame for the grunge crowds of the 90's while, despite the variety, the record sounded overlong and repetitive with an evenly pleasant sound but no real hits. Eventually "Move" proved a commercial flop, and while The Sins soldiered on for a further six years and numerous albums, they would never again reach for the charts, seemingly contend to be just a cult band. Well, it's better to be fondly remembered by a faithful few than to have had your 15 minutes of fame and see your CD's getting massively dumped at the thrift shops.

**** for Watch You Dance, Getting The Feeling, Forest For The Trees, Waiting, Hit Or Miss

*** for She's On My Side, I Surrender, Talking To You, Like An Animal, Move, Saturday, Feel So Fine, I'll Be Around, Between The Lines, If I Knew, Closing My Eyes, It's A Good Life, Not Today, Devil's Music

** for Wake Up, All Good Things, I Never Dreamed, Break The Chain, Nothing's Everything

Radio Birdman "Zeno Beach" 2006****

I've always been a big fan of these guys, for years their surf-punk anthem "Aloha Steve And Danno" has been the standard opener for my mix tapes. I never thought I'd get to see them live as they belonged to another continent (Australia) and time (the late 70's). But, inevitably, they succumbed to the trend of cult bands reforming to reap the rewards of posthumous fame. In 2006, with a brand new album in tow which almost nobody had heard yet, they played at the AN Club, a -literally and figuratively- underground establishment at Exarchia, my old neighbourhood which huffingtonpost has described a "punk disneyland", an entertaining but incorrect description. But if that analogy had any merit, AN would be among the main attractions. Lots of great concerts have taken place there. It has a low ceiling and the stage pits artists and audience within touching distance, which makes rock gigs an intimate experience. On the other hand it's extremely stuffy, especially since nobody in Greece observes the non-smoking regulation. That night the place was packed, literally no place to move. Well, not exactly true, you could move to the music in tandem with everyone else, but if you wanted to scratch your nose or something, it required contortionist's abilities. Great fun, nevertheless - a real rock'n'roll night of the kind you rarely experience any more, filled with tons of energy and excitement. With any doubts removed from witnessing this concert, I went ahead and bought Birdman's latest CD, which I'm reviewing today.

1976 is commonly regarded as punk rock's year zero, but Radio Birdman formed in 1974 (same year with The Ramones, albeit half the world away) which explains why they're usually described as proto-punk. The band's Australian core was augmented with Deniz Tek, a medical student from Detroit who had witnessed the fury of The Stooges, MC5 and Grand Funk first-hand, and who took it upon himself to transplant the Motor City's garage rock sound to his new home. Radio Birdman's music bristled with punk energy, melodic hooks and aggressive hard rock guitars but that only brought them local hero status, and they disbanded in '78. Unbelievably and unexpectedly, almost three decades later, they just pick up from where they had left without missing a beat. Rob Younger's singing may be less throat-shreddingly loud, but he can carry a tune better than ever, while Masuak and Tek's double guitar attack hasn't lost any of its power. Pip Hoyle's keyboards are more conspicuous than before, while he also wrote two of the album's best songs, the penultimate Blue Öyster Cult-like mid tempo rocker "The Brotherhood of Al Wazah" and infectious surf-punk closer "Zeno Beach". Opener "We've Come So Far (To Be Here Today)" functions like a statement of intent, exhibiting the frenetic pace, hooks and deft solos we had come to expect of the band at their peak. It is a recipe often repeated in the album, always with success. There are variations, of course: the glam stomp of "You Just Make it Worse", flower power of "Die Like April", Nuggets garage rock of "Hungry Cannibals", metal chug of "Locked Up" and Doors-like psychedelia of "Heyday". Never a dull moment with this album - I hope celebrated young guns like The Hives and Strokes are taking notes: watch and learn, boys: this is how you do it!

***** for We've Come So Far (To Be Here Today), The Brotherhood of Al Wazah, Zeno Beach

**** for You Just Make It Worse, Remorseless, Found Dead, Connected, Die Like April, Heyday, Subterfuge, Hungry Cannibals, Locked Up

*** for If You Say Please

Sue Saad and The Next "Sue Saad and The Next" 1980***

Sometimes you just choose an album by its cover. At least I do - provided it comes cheap enough, and this sure did. The cover said to me: Long forgotten hopefuls. Power Pop (I'm a big fan) or New Wave (Not such a big fan, but I grew up in the 80's, so it there's a nostalgia effect). Plus visually it's worth owning - the band's pose on it is a hoot, like accidental self-parody! Oh I could write a lot about it, but I couldn't possibly outdo this blogger, who named it the worst album cover of all time! Among other comments, he has a name for this specific look: "Dance Instructors Who Are Also Portraying A Street Gang In A Shitty Movie". Ha! I swear I've seen enough such movies as a kid. We only had two TV channels, the State one and the Armed Forces one - zapping wasn't a choice! As for the content: Power Pop? Check! New Wave? Check! AOR ballads? Check! Late 70's zeitgeist? Absolutely! Think Blondie, Joan Jett, Pat Benetar, Sniff''n The Tears all rolled into one... Just not the best bits from each band. The LP reached #131 at the charts, which is no more or less than what it deserved. The band also appeared in a few B-movie soundtracks (Roadie, Looker, Radioactive Dreams, Vicious Lips), then promptly disappeared without making a second record. Which is fine, because disappearing after one record is exactly the stuff cult bands are made of, and I say these guys and girl's cult status is long overdue! The album has a lot of rockers falling halfway between classic rock and new wave, featuring clean production and great lead guitar by Tony Riparetti: "Gimme Love/Gimme Pain", "Your Lips-Hands-Kiss-Love", "Danger Love" - all nice but ultimately unexceptional, and very much of their time (think Foreigner/Heart/Survivor etc). Predictably, I prefer the faster, punkier ones "It's Gotcha" and "I I Me Me" but I also love the reggae-ish "Young Girl" with Sue Saad (improbably that's her real name) channelling Debbie Harry. There are also a couple of big ballads, "Cold Night Rain" and "Prisoner". The latter must have made an impact in its time, as it was soon covered by acts as diverse as Sheena Easton and...Uriah Heep! Most blogs report that the album has never been re-released, but discogs lists a CD reissue by the now-defunct Renaissance Records. In any case, that should be more expensive and harder to find than the original vinyl, so I suggest you dig out a copy of the LP - especially if you like good power pop and new wave and appreciate an interesting miss as much as a hit. Meanwhile, I'll seek out those B-Movies featuring Sue Saad's music: I suspect I'll be unearthing at least one "so bad it's good" cult classic.

**** for Young Girl, I I Me Me

*** for Gimme Love/Gimme Pain, It's Gotcha, Prisoner, Your Lips-Hands-Kiss-Love, Danger Love

** for I Want Him, Cold Night Rain, Won't Give It Up

Reigning Sound "Love and Curses" 2009****

There was a time when garage punk was all about raw energy: being loud, fast and irreverent towards rock's sacred cows. Certainly that's all Greg Cartwright did when he played in the Oblivians. Songwriting? Who needs that? Just scream and yell as hard as you can! How ironic is it that 15 years later everyone would praise him for his classicist approach to rock songwriting? Reigning Sound is still nominally a garage rock album, but you'll find more similarities to Motown soul, The Stones and Springsteen ("The Bells" could have been an outtake from The River) than with The Sonics. Actually its reverence for classic rock and soul may be this album's sole "fault" - almost all songs are originals but you'd swear they are golden oldies. The only cover is Glass Sun's "Stick Up For Me", a fiery garage rocker with driving organ and a defiant anti-establishment message. A few more unrepentant garage rockers ("Call Me","If I Can't Come Back", "Dangerous Game") keep the energy level high, but on the whole it's less like a wild car chase and more a smooth ride in the country. "Brake It" sounds like mid-60's Stones and the mid-tempo "Trash Talk" like The White Stripes chilling out. There are a few excellent ballads (the folky "Love Won't Leave You A Song" and soulful "Something To Hold Onto"). Cartwright generally injects a healthy dose of soul into most of these songs, understandably as he had spent some of the previous years working with 60's soul veterans and as an on-and-off member of garage-soul combo The Detroit Cobras. The groovy organ-drenched "Broken Things" and garage-y "Debris" have a whiff of Dylan circa '65 about them (always a good thing), while ballad "Polly Anne" and rocker "Is It True" take me back to the days of The Paisley Underground - whether it is the revival of a revival or just timeless good music is a moot point. The album ends with something completely out of place: "Banker And A Liar" is an acoustic protest song complete with mandolin and accordeon. In this Memphis soul LP, it sounds as lost as a refugee from Beirut (the band, not the city). It must have worried Cartwright's fans as to his next move, but they shouldn't have: not only did Reigning Sound stay on the garage-soul path, he even resurrected The Oblivians for some good ole punk rock thrashing!

**** for Trash Talk, Call Me, The Bells, Something To Hold Onto, Broken Things, Debris, Stick Up For Me, Polly Anne, Is It True, Banker And A Liar

*** for Brake It, If I Can't Come Back, Dangerous Game, Love Won't Leave You A Song