ASTEROID B-612
Reading Between The Lines (No Tomorrow;CD)
The opening song on this CD, a tasteful cover of Allen Toussaint's 'On your Way Down', is untypical
of asteroid B-612's style, as it is a restrained, melodic, mid-paced number featuring guest Bruce Tatham
on Hammond. The trouble is that songwriter and guitarist John Spittles generally prefers to bludgeon
the listener with great slabs of heavy guitar sound, so that his brother Graham has to shout to be
heard over the guitars. The band is at their most interesting on fine, memorable original songs
like 'The Song Didn't Get The Girl'. In this song the tune comes first and the riffs come second.
Many of the other songs sound like they were written the other way around, resulting in a 'blokey'
type of indie guitar rock that probably goes down well live, but has been done a hundred times before.
(Having said this, the bonus 12 minute epic blending Died Pretty's 'Mirror Blues' with 'Final Solution'
is a riff-fest that actually works really well). Mr. Spittles is capable of melodic guitar lines,
so it's a real shame that on at least half the other tracks he prefers macho rifferama.
Although most of the songs are original, '19th Nervous Breakdown'
is an odd choice of cover, as it is one of pop's most familiar songs. Covers of classy but less
well known material like the aforementioned Toussaint tune and The Flamin' Groovies' 'Second Cousin'
are good choices that show good taste, although the latter lacks the verve of the original.
To sum up, this Asteroid sounds best when it strays away from its safe 'boys'
guitar rock' orbit.
www.notomorrowrecords.com
Phil Suggitt
BABY WOODROSE
Chasing Rainbows (Bad Afro; CD)
When you hear the word "Copenhagen", every non-Dane thinks of extremely thick smoke and extremely
mellow existence. I don't know if it's because Chasing Rainbows was created in the laid
back capital of Denmark by three natives of the city but this record does sound quite druggy
and lovely. Baby Woodrose have made a bold move on its fifth album.
Denmark's acid punk kings have decided to rock a bit less and emphasise the dreamy, more layered
aspect of their sound instead. One could even call Chasing Rainbows a psychedelic pop album.
The pop-factor comes from the heavy use of strong melodies, not the lack of sonic punch.
I'm really glad they made this shift in balance, because the results are fantastic.
The songs are excellent and although there aren't any really primal garage-punk blasts here, this stuff
is intense and full of sinister energy. The main guy Lorenzo Woodrose's vocals soar beautifully on top
of the thick foundation, the trio grooves stronger than ever and the authentic sounding production is perfect
for the occasion. Opening track 'Someone To Love' sets beautifully the pace for the whole trip.
Waves of gorgeous sounding guitars crash with a soulful groove that's one half dancefloor, one half
kicking back on your sofa. This is freaking pop-psych-perfection! Once they get the room whirling around
your head, Baby Woodrose just won't let go. The whole album sounds cohesive which is extremely important.
How many times have we all been annoyed by half-ass contemporary attempts to create late '60s style
of psychedelic soundscapes, that turn out to be nothing more than highly generic mush with a few freaky
sounds here and there? Lorenzo Woodrose knows better. He has been practicing, examining, living and
loving the art of psychedelic music for years and it truly shows. Under his guidance Baby Woodrose have
stirred together a huge variety of ingredients ranging from melodic garage-pop to full blown hippyisms
and managed to come up with a record that would've melted minds 40 years ago. What's even better:
it all sounds 100% fresh and relevant right here and now.
www.badafro.dk
Pekka Laine
THE BOONARAAAS
Five Steps Ahead (Sounds Of Subterrania!; CD)
In the days before you could listen to a group via the Internet, the only Boonaraaas record I encountered
in a store was a Bananarama tribute EP. It didn't sound my kind of thing and I passed on the group until
they played The Dirty Water Club recently. Their excellent show made me realise my mistake and inspired
me to buy this, their new release. This quartet of Germans plays very catchy all-girl garage pop,
with the accent very firmly on pop. Their fine original tunes really swing, with perky choruses. The vocals
are great; bassist Trich handles most of the leads but all four girls sing.
Although their sound is energetic and contemporary, it is firmly rooted in '60s pop.
The Boonararaas set out their stall on the fine opening cuts 'Out Of Sight'
and 'One Fine Day'. Tine and Laura's guitars can be powerful when required, but there are no indulgent
solos or tedious layers of fuzz. At the same time drummer Christina adds a driving but danceable beat.
The 'Go For It, Girl' chorus of the third song could be the group's manifesto. On 'Hard To Be Girl'
the tongue in cheek lyrics describe the problems of having to decide what to wear, but 'Go For It Girl'
sums up these girls more appropriately.
Several of the tunes, such as 'It Won't Last Too Long' are enhanced by neat keyboard work,
yet strangely no-one gets an organ credit in the liner notes.
This album is so much fun that I will check out the groups' previous releases,
even that Bananarama tribute!
www.soundsofsubterrania.com
Phil Suggitt
BILLY CHILDISH & THE BUFF MEDWAYS
XFM Sessions ( Damaged Goods; CD)
It might seem odd to release this album now, as The Buff Medways are no more and Billy and his
new partners, The Musicians Of The British Empire, are probably on their third or fourth release.
On the other hand, there has always been continuity between all of the groups Billy has been involved in.
Some would argue that only the names change. I enjoyed seeing Thee Headcoats and Headcoatees
on scores of occasions during the '90s, when they were the epitome of primitive but sincere
garage/punk/R&B. In the 21st century I lost touch with both the live gigs and the records.
As Billy became increasingly popular I felt he was content just to keep on as he always had.
I'm glad he has found fame by staying true to the music he always loved, but after 60 albums or thereabouts
I would like to hear him take some new risks!
This album is a case in point. Like so many of Billy's albums, there are some good tunes, some average
tunes and some covers of previously recorded songs. Several songs from the extensive Childish
back catalogue, such as 'Troubled Mind', 'John the Revelator' and 'Just 15' would have fitted neatly
into a Mighty Caesars' set over 20 years ago. I also enjoyed some of the newer songs, such as 'Fire'
and 'Strange Kind Of Happiness', but they are not radical departures from the usual Childish style.
The first seven numbers are from a live set at The Barfly, notable for the announcements
from a drunken Scots fan who appears to have Tourettes syndrome.
Of the vast number of albums Billy has released, this is neither brilliant nor bad. There is nothing
that would find its way onto a 'Best Of'. The safest thing to say is that this sounds like a
Billy Childish album.
www.damagedgoods.co.uk
Phil Suggitt
THE BREAKUP SOCIETY
Nobody Likes A Winner (Get Hip; CD)
However firmly Ed Masley has been sticking to the 'Society debut's nerdy power pop concept,
to these ears at least, there's no such obvious hook-laden stand-outs as 'Robin Zender' (the song!),
'She Doesn't Know She's Not Supposed To Like Me Yet' or '(He's) Burnin' The Dynamite At Both Ends'.
If it wasn't for the hilariously funny lyrics, accompanying mostly usual (power) pop back-up
(often reminding me of Ed's soulmate Michael Shelley), and telling tales of (extra)ordinary lives,
I would've hardly made it through the whole 45 minutes in one take. However, after the reverb-laden
Orbison-through-Spector impersonation in 'This Little Tragedy' being the first one to really catch
my ear, there are a few more worth pushing the repeat button for. 'By A Thread' might've been one
of the jangliest parts of Rubber Soul, had the album been recorded by Elvis Costello instead
of those other guys, also similarly styled 'I Didn't Mean To Wreck Your Day'
is another piece of twangy Merseybeat, by the way of the skinny-tied The Singles. The winner of the pack
however is 'Lower Expectations', in all its punkish Zombie-fied beauty.
If you already like the previous, James At 35, album, you may not be too excited about this
one though.
www.gethip.com
Garwood Pickjon
THE E-TYPES
Some Time Soon! (E-Types; CD)
Yes, this is the group from Salinas, California that split in 1967! The E-Types were purveyors of a
British Invasion style pop, with three-part harmonies that blended aspects of The Beatles, Zombies
and Turtles. Information about this release is sparse, as there are no website links mentioned
in the liners, an unusual thing these days. A quick glance at the Sundazed compilation of the groups'
first recordings confirms that at least three of the original group are still present, and the other
three musicians are their contemporaries. (The photos suggest all the guys are wearing well,
particularly bassist Danny Monigold. He looks so youthful and boyish that his photo must be 30 years
old or else he has a Dorian Gray style painting in his garage!)
And the music? The 2007 E-Types continue in the same fashion, with a gentle
pop/beat/folk-rock sound. The 1965-67 group produced some great covers and most of their originals were
written by a friend of the group, so it isn't surprising that the eight songs are not E-Types originals.
Two of best tunes, including 'It's What You Do to Me' come from the pen of the little known
but talented power popper Bill Retoff. A cover of Lennon and McCartney's 'I'll Be On My Way'
is also firmly in The E-Types tradition. Although the songs are pleasant rather than spectacular,
they suggest that the reputation of the group, like that of the sports car, doesn't diminish with age.
Phil Suggitt
THE FIVE ACES
Shout & Shimmy (Saagaloo Records; CD)
Here we come with the latest Hampden roar (that's the score for those reading south of Gretna)
on the combo originally known as The Boogaloo Investigators, a Glasgow-based quintet fixated
with all manner of swingin' rhythm'n'blues sounds. These guys were well on the way to bustin'
out on an international level before, so let's hope they continue to do so now and if these 11 cuts here
are anything to go by then their popularity is all but assured. Vocalist extraordinaire Richard W Rinn
writes and records the majority of the group's material, and he and the other four 'Aces on Shout &
Shimmy deliver it all up with an easy affinity and such impassioned soul for their chosen era.
'Nik Nak No'and 'Movin' On' are two corkers in the Booker T-esque sphere while, at times,
the group can recall the blues stylings of say Jimmy Witherspoon and Rosco Gordon at their best.
It's a Hammond-backed party for sure but there's also plenty of "chank and twang" goin' on. Get a load
of 'Missing Link', a nod of a different kind to the late and very great guitar hero Link Wray, and with
the likes of 'Fire Drill Suite' their style of harp-wailin' beat combo suss is put to great effect.
The only thing I didn't like about Shout & Shimmy was Mark Lamarr's pointlessly stupid
sleeve notes. Even the little bit of nonsense the guys put on way after the last track had ended is
way better and more humorous. Check out www.thefiveaces.com
for more info on this excellent combo.
Lenny Helsing
PERRY KEYES
The Last Ghost Train Home (Laughing Outlaw; CD)
Perry Keyes double album Meter was an outstanding debut, introducing a really passionate and
original Australian song writer. His second album is just as good, confirming all his strengths.
The Last Ghost Train Home differs slightly from its predecessor in that it is a more
intensely personal album. There are fewer up front kick-ass rock/pop tunes like 'Sweaty Sneakers' or '2nd
Time I Saw You'. However, Keyes' vocals capture his passion for the inner-city working class community
in which he grew up. The songs display a fierce nostalgia for a community spirit that has been largely
eliminated by the impersonal forces of 'progress'. The opening song, 'The Day John Sattler Broke His Jaw'
is a great example. Saddler was a Sydney Rugby League player who played almost the whole final with a
broken jaw. You don't need to know this to appreciate the songs' bittersweet, romantic yearning for a
vanishing culture. Perry has written a four A4 page glossary explaining all the references to Sydney sites
and institutions. It's a shame that this will not be included with the CD, as I found it fascinating.
(OK, I really liked all the footnotes in my school copies of Shakespeare and T.S. Eliot, too!) Don't get
the impression that these are scholarly works that can't be understood without a back-up glossary.
The songs stand on their own merits. The playing is outstanding throughout. The backing vocals of drummer
Bek-Jean Stuart deserve special mention, as well as the atmospheric keyboard work of John Good.
One of the best songs has little to do with working class Sydney. 'Joe Strummer'
is a tribute to "the best rock'n'roll lyricist, with the biggest rock'n'roll heart". Normally regular
use of the 'f' word in songs betrays a lack of imagination or intelligence, but I make an exception
for the chorus; 'Fuck that shit/ Eyes front and face it', one of the catchiest and most infectious
hooks I have heard this year. The keyboard part is irresistible. In my alternate universe this would
be a massive worldwide hit. If only.
www.laughingoutlaw.com.au
Phil Suggitt
THE LONG RYDERS
State Of Our Re-Union--Live 2004 (Prima; CD)
The Long Ryders' latest release captures their live action comeback throughout the United Kingdom,
finding them as firm in their saddles as ever. Besides this being a kind of a companion release
to Prima's Best of... (in 2004), there's also no less than 13 songs
in common to be found on both CDs, making a pretty natural live set after an almost 20 years pause.
After an appropriate opening with the cover of 'So You Want To Be A Rock'n'Roll Star', the
description of them representing a "shotgun wedding of country and punk" is well displayed throughout
the likes of 'Lights Of Downtown', 'You Don't Know What's Right, You Don't Know What's Wrong',
'Final Wild Son', '(Sweet) Mental Revenge' or 'Louisville'. On the janglier side of American tradition,
they take the early Byrds' sound towards a more adventurous side of folk-rock circa'66, as heard in
'Capturing The Flag', 'I Had A Dream' or 'Ivory Tower', which seems to be sharing just a wee a bit more
than just mutual Byrds-fascination with Tom Petty's 'Refugee'. To justify the second half of the above
definition even more precisely, there's quite a few riff-laden garage-punkers as well, such as the infamous
'Looking For Lewis & Clark', or 'Gunslinger Man', 'Prairie Fire' and '10-5-60', and there's
just an occasional attempt to get just slightlydelic as well, while still within the same Americana borders,
as heard in 'A Stich In Time' and 'Years Long Ago' ... and in case you're of the newer generation
of "ryders" and having doubts whether you should almost double the recent Best Of ... CD content,
of the several new entries, 'Wreck Of The 809' is the one that's worth the price of admission alone,
with it's Kinks-verging-between-their-early-R&B-daze-and-the-forthcoming-more-brainy sound.
www.sidgriffin.com
Garwood Pickjon
THE MAHARAJAS
In Pure Spite (Low Impact; CD)
Shindig! readers may be well aware that The Maharajas are amongst our favourite new acts.
What is it about them? Well, in Mathias they have one of the finest vocalists in recent
time, Ulf Guttormsson is a fabulous songwriter and with Swedish garage group royalty
Jen Lindberg at the helm, he keeps the gang fresh, wild and ever so slightly deranged.
In Pure Spite has a few punk edges ('Suckerpunch' out Hives The Hives), some drunken
Stonesy Groovies moves ('Repo Man', 'One Man Team') and plenty of the groups own specialities.
The Maharajas seamlessly blend intelligent '60s analytical folk-rock/pop with all out fuzzy garage
beamed in from The Stomachmouths, pub rockin' Berryisms and, when needed, Gene Clark's warmth.
Fifty years of rock and roll that touches upon everyone from Little Richard to The Beatles; The Music Machine
to Stooges; The Pirates, Creeps, Swingin' Neckbreakers... and well, The Maharajas! They've sounded
this good for four albums now! And the sounds is all theirs! The guitars mesh together like a smooth
gear change and it all rolls along perfectly. There're no major histrionics, it's just solid playing
marked by sharp chord changes and brilliantly constructed songs and memorable singing!
Sweden's greatest group? Quite possibly so. Investigate post haste.
www.lowimpact.nu
Jon 'Mojo' Mills
THE MAKES NICE
This Time Tomorrow (Frenetic; CD)
The Makes Nice are a San Francisco area trio who specialise in authentic sounding, lo-fi '60s pop ravers,
with the word "pop" emphasised over the "raver", as each of the 14 tunes on This Time Tomorrow
is melodically driven and contains the requisite harmonies. Plus, with many songs clocking in at
under 2:00, it's BANG! and then on to the next one. The best tracks herein are the early Who/Kinks
styled 'Take Over', 'You Want Me Bad' and 'When It's All Gone,' 'Waterworld,' which could have easily
been snuck onto a Pebbles album, and 'Melody, Please,' an apropos title as it's the prettiest
tune on the album.
Only the occasional modern mode of chord structure would give away that this album was recorded in
the New Millennium, but you'll have no problem digging This Time Tomorrow!
www.freneticrecords.com
David Bash
MARBLE SHEEP
Message From Oarfish (Funfundvierzig; CD)
Bllllaaaaaaaammmmmmmmm etc etc. Well...there ya go. That's what this effort
by these Japanese psycho-grungesters sounds like. Imagine that you're playing
a vinyl copy of 'Speed King' by Deep Purple and it gets stuck in the groove during the intro.
That's what this sounds like. Imagine a Croatian Sex Pistols tribute group with a vocalist
who shouts into a flowerpot rather than a microphone. That's what this sounds like.
Imagine The Bevis Frond crossed with Spinal Tap. That's what this sounds like. Imagine Nirvana with
Damo Suzuki on guest vocals via a mobile phone link during a typhoon. That's what this sounds like.
Imagine Hawkwind truly having a mass brainstorm and disappearing in smoke. That's what this sounds like.
Can I go and lie down now please?
www.fuenfundvierzig.com
Mick Capewell
MARK & THE SPIES
Mark & The Spies (Screaming Apple; CD/LP)
Try to imagine, if you will, what The Knickebockers or The Remains might have sounded like if they were
born and raised in The Netherlands instead of the United States, and you'll be on the road to digging
(in the literal sense) the sound of Mark & The Spies. These guys do some
mighty fine pop/garage nuggets that will stay in your head long after the actual tunes are playing,
and might even make you dance! Lead vocalist/songwriter Arjan Spies has obviously studied his
forefathers well, and gets those wonderfully authentic vocal inflections and tempos just right.
The album is filled to the brim with classic tunes like 'Wait Forever,' 'Another Chance,' 'Try As I Might'
(kinda like 'She's Not There' as done by The Remains), and the Mersey hand-clapper, 'But I Do'.
Only their cover of Jose Feliciano's (!) 'If I Really Bug You' even resembles a ballad, and as if to lull
you out of your blissful state after hearing that tune, the album ends with what can only be described
as a six minute mass freak out, 'See Her Tonight (Money)'.
Mark & The Spies deserve to be hailed as a classic of the genre, period!
www.screaming-apple-records.de
David Bash
MY BROTHER WOODY
It'sALongWayFromThatSortOfThings (Glass House; CD)
Inconsequential, but nice. This Dublin based nerdy singer songwriter has a Napoleon
Dynamite look about him, a fab name derived from that cool Free Design song, and
gently breathed musical landscapes not unlike compadres The Thrills. Musically it's a bit more brainy
with piano, glockenspiel, horns and harmonies creating a world weary Cali-burn out sound, recalling both
the glory years of '67-74 and today's acolytes ala Rufus Wainwright and Ben Folds.
www.myspace.com/mybrotherwoody
Jon 'Mojo' Mills
RUDI PROTRUDI
Ladykiller/It's A White Trash Thing (Double CD; Twist)
Until I read the liner notes to this CD I didn't realise that Rudi Protrudi, Chief Fuzztone and
archpriest of '80s teen garage trash, was also a big C&W fan. After The Fuzztones disgrouped
Rudi went back to his roots and made two country records, both of which are included here;
1993's It's A White Trash Thing with the Midnight Plowboys, and 1999's Ladykiller,
with the Tujunga Killbillies.
Unsurprisingly Rudi decided to focus on the most warped, twisted sick and cheesy
country ballads, resulting in 28 tracks of murder, drugs, drinking, madness, incest and abuse.
Kitsch classics like 'Before I Kill Again', 'LSD Made A Wreck of Me' and 'Eight Days Clean'
get the Protrudi treatment, and are good fun if taken in the right spirit. Rudi's vocals are particularly
good on the earlier disc, and his own tunes, such as 'Beersighted' and the title track are good additions
to the genre.
The problem is that the playing and arrangements are very traditional straight
C & W. I was expecting Rudi to have a more individual, left of centre take on the genre.
Maybe Rudi tried to stay as faithful as possible to the original garage band sound whilst
in The Fuzztones, so it isn't so surprising that he has done the same when playing country.
The cute little tune 'Psycho' is a case in point. It was previously
covered in the mid-'80s on the fine debut LP by the Australian group The Beasts of Bourbon.
Whilst Rudy's group play it straight with pedal steel and a country shuffle, The Beasts'
embellishments to the confessions of an axe murderer involved inspired slide guitars and pounding drums.
Essentially The Beasts' album is full of twisted rock'n'roll backings to a series of twisted songs.
The difference is that if Rudi played his stuff to a bunch of white trash rednecks in a roadhouse in
the Deep South, they might actually love it. The same audience would try to bottle The Beasts off stage!
In other words you have to be a fan of traditional country, drenched in pedal steel, to really get
into this record.
www.twistrecords.co.uk
Phil Suggitt
ROTOR
3 (Elektrohasch; CD)
This disc is forty-one minutes long. There's a lot you can do in forty-one minutes. Roger Bannister
could run ten four-minute miles and have a minute to get his breath back. You could hard-boil eight
eggs and have one minute left to de-shell them, or you could soft-boil thirteen eggs and have two
minutes to get rid of the shells. I think I prefer the soft option, especially if there's the prospect
of eating "soldiers" with them. In Monty Python's Argument Clinic, you could buy eight five-minute
argument sessions and use the spare minute to calm down. Alternatively, if you
went for the full half-hour argument, you would still have eleven whole minutes in which to wind down,
possibly by reading a magazine or having a cup of tea or...what? Sorry? You want to know about the music?
Oh...yes...of course. Silly me. Well...it lasts for forty-one minutes (perhaps you already know
that)...and...and...oh yes, one of the frightfully hairy chaps on the cover is wearing sandals!
He'll get chilblains if he's not careful, the silly sausage. Well...look here...can't go on beating about
the bush...have to get down to the nitty-gritty...put things straight down the line and all of that...and,
gulp, this is forty-one minutes of what sounds like rejected backing tracks for a Black Sabbath go
Jazz-Fusion project. Rotor are from Germany. Their album is boring in the extreme. It is instrumental.
It has lots of boring grungy but would-be fiddly guitar riffs. It has lots of "watch out, the wardrobe
is falling over" drumming. They have lots of hair. Did I mention that one of them wears sandals?
I'll go and get the eggs...
www.elektrohasch.de
Mick Capewell
THE SETTING SON
The Setting Son (Bad Afro; CD)
No idea what Bad Afro are going on about when they describe this album as "bubblegum pysch", a bizarre
term that evokes images of The Archies covering The Pink Floyd! It would be more accurate to describe
this CD as really good garage-psych-pop. The Setting Son is a Copenhagen studio group based around
the considerable talents of Sebastian T.W. Christiansen, the writer of all fourteen songs.
All of the songs are of a high quality. From the intriguing guitar lines and urgent vocals
of 'Running Demons' it's clear that something interesting is going on. Sebastian's songs are sometimes
curious and winding but always melodic, ranging from driving, passionate garage pop to mournful psych.
There are no standout tracks but the album really gels as a whole.
Producer Lorenzo 'Baby' Woodrose has assembled a really good supporting cast who really
do justice to Christiansen's songs. Lorenzo also plays drums and sings. Adam Olson's lead guitar is never
predictable or clichéd and is always imaginative. Sebastian's organ is also important to overall sound.
Fans of contemporary psych should definitely check this out.
www.badafro.dk
Phil Suggitt
SONIC AVENUES
Off The Ground (Ricochet; CD EP)
The debut release by Montreals' Sonic Avenues is chock full of great harmonies. The shared vocals are
a real strength. Either it's my imagination or else the group have devised a cunning plan to showcase
the full spectrum of their sound, by starting with a belting rocker and gradually moving closer to a pop
sound over the space of four songs. The opener, 'Off The Ground' has the aforementioned harmonies
but also has a loud, crunchy riff and barely controlled guitars that are raring to be unleashed.
By song four the mood has shifted towards guitar pop, with a really bouncy, infectiously jaunty beat
that you can dance to, vocals that are more upfront and more melodic guitars.
The two tunes in the middle are no slouches either. The beginning of 'Driftin' Apart' is great,
with a neat guitar figure and lots of 'ooos'. 'Sinful Eye' has a neat chorus and lighter guitars.
The Sonic Avenues have quickly developed a fine "guitar wall of sound" with equally
strong vocals. Their challenge will be to write and record a whole album of killer tunes that do full
justice to their sound.
www.ricochetsound.com
Phil Suggitt
VARIOUS ARTISTS
Garage Mayhem - Live At Asbury Lanes (Head Shop; CD)
Seven modern garage bands, mostly from NY and Philadelphia, contribute two live, no overdub tracks apiece
to this compilation. Mondo Topless, Muck & The Mires, The Coffin Daggers, The Misteriosos, Sons Of Moon
and Thee Minks have all graced the stage at the Asbury Lanes, an old bowling alley in the Asbury Park
area of New Jersey that clearly makes a great rock'n'roll venue.
Sadly the groups fail to do full justice to the venue. The thing that strikes me most is that almost
all contemporary garage bands fail to surpass (or, for that matter, equal) their counterparts from
the '60s. One of the main reasons is the vocals. No matter how primitive the recording or cruddy
the equipment, live tapes of '60s groups – from the downright obscure to the highly acclaimed – usually
reveal a really high standard of live vocals. The vocals on this CD are almost uniformly weak.
Sometimes they just struggle to be heard in the mix, as in The Misteriosos' otherwise impressive
'Telescope'. Most of the other vocalists shout rather than sing.
All the groups work up a fine lather onstage – there ain't no slow ballads here--but the music is only
close to the '60s in spirit. Judging from these cuts, the groups have more in common with indie/punk
than with the original Pebbles groups.
www.headshoprecords.com
Phil Suggitt
VARIOUS ARTISTS
Psychedelica Volume 2 (Northern Star; 2-CD)
Northern Star promo material suggest this compilation is "... set to redefine the boundaries of
psychedelia... expand it's parameters a million miles in all directions.. so much so that by the end
of it we won't know what psychedelia really is". I hope they're kidding. If a category becomes
so wide that it isn't clear what should qualify, how useful is the category? Skate punk psych anyone?
Skiffle pysch maybe?
The definition of that much-abused term, "psychedelic music" has been the subject
of endless debate over the years, so I'll leave it to the experts. For potential purchasers,
the main thing to know is that most of these songs don't push the boundaries; they fit comfortably into
what is generally accepted as modern pop psych. The exception might be Flowers Of Hell, who contribute
a distinctive trumpet and violin based instrumental. Some may call this a new kind of psychedelia,
others would say it was simply modern jazz.
Because the songs don't break a lot of new ground is not to say there aren't a lot
of good tunes here. There is excellent material, particularly on disc two. The contributions
from The Dolly Rocker Movement, Belles Will ring and The Quarter After are great, to name a few.
If you enjoy interesting, slightly dreamy melodies which sometimes veer off in unexpected
instrumental directions, swirling keyboards, well sung, gentle (sometimes whispered) lyrics and lots
of interesting guitar effects, you will be in your element. A lot of these combos are strongly
influenced by the likes of The Stone Roses, The Church, Ride and The Jesus & Mary Chain.
In some of the songs I can here bits of all four! Not that that's a bad thing, you understand.
Northern Star also deserve credit for giving a helping hand to many unsigned groups
or groups who have only previously released material on the net.
www.northernstarrecords.co.uk
Phil Suggitt
VARIOUS ARTISTS
Innocence Is Bliss: A Female Frenzy Of Sensational Sounds (Dionysus; CD)
Unlike the great cover picture, a large number of the acts on this compilation of modern girl garage don't
have a cute kitty for a drummer. The drummer is a guy! OK, lots of girl groups have a male drummer,
but some of these groups are mostly male with a female singer, which is cheating a bit in my book!
Minor quibbles apart, there are some fine songs here. Some of the tunes are basic, simple punk or
garage rock'n'roll, but the contrast with the sweet, fragile girly vocals really works for the likes
of Japan's The Portugal Japan, The Pebbles and Norway's The Cocktail Slippers, to name a few.
In general the girls rock out but the vocals raise the song quality above average. If several of these
songs were bashed out by the typical shouty modern male singer, they would have little or no impact.
I expected Zombina And The Skeletones to sound like The Cramps, but their contribution, 'Meteorite'
is surprisingly tuneful and poppy. Lost Patrol's 'Grey Day' is more '60s styled indie than garage,
but I like it all the same. Germany's Boonaraaas contribute 'Quiet Girl' one of the more
average songs from their excellent new album. The only tunes that don't really work for me are
by The Rabies and Buttersprites, which veer off in a new wave direction with mannered vocals.
Never mind, every artists' My Space link will allow you to investigate some more of their stuff.
When all is said and done, there is something for everyone here; sixteen groups, fourteen of which I
had never heard before.
www.dionysusrecords.com
Phil Suggitt
THE WARLOCKS
Heavy Duty Skull Lover (TeePee; CD)
I confess to a lack of familiarity with The Warlocks' earlier releases, but find myself completely
unable to relate to Heavy Duty Skull Lover. Fuzzed drone guitars are layered over every song,
swamping what little melody they possess. Used sparingly, this approach might be effective,
but just like the works of Spacemen 3 and Sonic Boom, it becomes extremely monotonous when it is
over-used. The eight tracks here are all overlong and slow paced. Parts of the songs are interesting,
particularly when organ and acoustic guitar are used, but the sludgy guitars prevent any of them from
being truly satisfying. Head Warlock Bobby Hecksher is aiming for a mood built up over several tracks,
but it's more of a gloomy, dirge-like stoner vibe. In essence this is a solo effort, as Bobby handles
all the vocals, guitars, keyboards and some bass. The rest of the group is the rhythm section.
Mark's vocals don't help, being whispered or a whine. Music without joy.
www.teepeerecords.com
Phil Suggitt
JOHN WICKS
Rotate (Kool Kat; CD)
This is the best record The Records never made. John Wicks was a founder of the late '70s/early
'80s Records, writing, singing and playing guitar on their three excellent albums of classic power pop.
Having left the UK for the USA in the mid-90s, this CD collects 12 tunes recorded at various dates
between 1990 and 2004. Despite the use of many different musicians and studios over 14 years,
the sound is remarkably consistent, continuing the tradition of the memorable tunes that he co-wrote
with Will Birch in the original group. All the best things about The Records are here except
the other Records! The vocals are slightly fragile but superbly arranged. The way the backing vocals
underpin the lead vocal is unique, and there enough hooks and great melodies to suit any power pop fan.
Similarly the songs abound with great but restrained guitar parts. The first three tunes are up
there with the likes of Records classics like 'Teenerama' and 'Girls That Don't Exist' in my book.
Anyone who loved the original group will love 'Oh Yeah', 'Different Shades Of Green' and the epic
'That Girl Is Emily'.
When I played this album for the first time I had temporarily mislaid the liners.
The sound is so faithful to the original Records that I though this might be a reunion album,
as the full title is John Wicks And The Records. In fact the rest of the original group is absent,
as they nearly all live on the other side of the Atlantic.
John must be a very considerate guy because there are five liner pages of thanks
to people who have helped him in one way or another – surely some sort of record! My only reservation
about this great album is that on the cover John's hair makes him look like the portrait of Beethoven
in my old High School music room!
www.koolkatMusik.com
Phil Suggitt
THE WOGGLES
Rock & Roll Backlash (Wicked Cool; CD)
With Medway geetars and a fierce attitude it comes with little surprise that in the
Parallel universe that is international garage rock Dan Elektro (drums) and Buzz Hagstrom (bass)
have hooked up with the almighty Gray Day as The Gaolers. Three grouchy old
rockers with vintage gear...Yeah! The Woggles have always had something of The Prisoners about 'em
and they also clearly dig The Milkshakes/Thee Headcoats too with their circa '65 Kinks affectation.
Although unlike copyists Thee Fine Lines, The Woggles are very much a force of their own,
both instinctive and a lot of fun. On this, their seventh album, they gleefully make a holy
racket driven by The Prisoners-like ('Time of My Own'), Stax soul influences ('Black Sheep'),
the totally mod pop-art 'Porridge', Spag Western ('El Toro') and The Stooges inspired 'Blasting Cap'.
Wonderful covers of The Lords' kooky psychedelic punk monster 'The World Is Falling' and Rex Garvin's soulful
stomp 'I Gotta Go Now' add to these energetic rock and rollers impressive range of sounds and styles.
And like Day The Woggles always respect a tune!
www.wickedcoolrecords.com
Jon 'Mojo' Mills
