DIESEL PARK WEST
Blood And Grace (Danville; CD)
I always had a bit of a soft spot for Diesel Park West in the 1980s, as a bunch of Leicester
lads with a healthy fixation for Moby Grape/Love/Byrds/Buffalo Springfield and West Coast
guitar bands in general. There was a timewhen their record label was clearly hoping they might
actually achieve widespread commercial success, but it wasn't to be.
This might be why they seemed to be trying a bit too hard on their later albums. I stopped
listening after their disappointing fifth album Freakgene (1995), an album of lacklustre
indie- rock with little trace of the '60s guitar pop influences that originally inspired them.
Now on their own label, they don't have anything to prove and they sound a lot better for it.
Several of my friends feel that the band were sometimes overproduced, and that the vocals could be a little
too melodramatic. Happily the first two songs are the opposite, and rank among their best tunes.
'If They Ever Turn The Lights On' is relaxed and assured, with some typically great guitar fills
from Rick Wilson. 'Men Of Blood' and 'There's A Grace' are really strong tunes with an almost
folk-rock sound. Not all the songs are quite this good, however. Some songs tend to peak early.
At 4 minutes 30 seconds 'The Indian' is long, and 'Just Like Me' is way too long at 6 minutes.
I don't have a problem with long tunes, but these say all they need to during the first 3 minutes,
and then repeat themselves.
Lead singer John Butler is in good
voice throughout, curbing an occasional tendency to hang on to a note too long.
Diesel Park West deserve your attention because very few contemporary English bands play this type
of music with the same passion.
www.dieselparkwest.com
Phil Suggitt
THE EARLY HOURS
Lights, Guitars, Action! (Off The Hip; CD)
This is a story of two halves, as the sports cliché goes. Over a decade after they split, this 27 song
CD collects both albums by Perth power popsters The Early Hours. The first album is fair but patchy.
It sounds to me as if songwriter Kirk Pohl and the guys could hear the sound they wanted in their heads,
but were too young and inexperienced to achieve it in the studio. A lot of simple, direct pop songs
are swamped by very predictable 'big rock guitar' chords, in a workmanlike sub-Chevelles fashion.
However, I first heard one of the songs on a compilation, and it became one of my favourite
tunes of the early '90s. The gorgeous chorus and chiming guitar of 'Sunshine Changes Everything'
stands out from the rest by miles, and shows what was to come on the second album.
(It always struck me as strange that this song was written in a country with guaranteed sunshine,
rather than by someone in, say, Sweden or Canada!)
The second album was recorded after thousands of miles, a European tour and dozens of gigs –
and it shows. It is a leap forward in every respect, a great slice of Australian power pop.
The production is much better, so that the guitars support the songs rather than swamp them.
The vocal arrangements are in a completely different league. The album abounds with gems like the great
ballad 'Lonely Without You' and sharp tunes which you'll be singing all day, like 'ChristiAnne'
and 'The Girl I Haven't Met'
www.offthehip.com.au
Phil Suggitt
THE ELECTRIC SOFT PARADE
No Need To Be Downhearted (Truck; CD)
Like so many other far reaching young British indie tykes The Electric Soft Parade
take a bit too much on board sounding somewhat confused and unsure of where their heart,
soul and inspiration really lies, which is a pity. Gruff Rhys may be one of the few
that can take disparate sources and melt them together seamlessly, but the Parade's at odds
synth pop and gorgeous minor key Odessey & Oracle baroque pop hybrid make a somewhat
strange bedfellow. However, when sticking with honey-coated harmonies that have a fragile
Wilsonian sensibility they have a winning formula.
Would it sound arrogant to suggest that they sit down and pay more attention to
Shindig advised music before they cut their fourth album?
www.truckrecords.com
Jon 'Mojo' Mills
THEE FINE LINES
Set You Straight (Licorice Tree; CD)
It's impossible to review Thee Fine Lines without mentioning Billy Childish in general and his '80s
and '90s incarnations, (Thee Mighty Caesars and Thee Headcoats) in particular. Thee Fine Lines
won't mind, as Billy is their prime inspiration. I have contrasting views about this CD. On some
songs the Kearbey brothers simply use The Headcoats as an inspiration, and assert their own identity,
as on the highly percussive 'Midnight's Fine'. These songs are really enjoyable, as I really liked
the Milkshakes and The Headcoats, who borrowed their ideas from the likes of The Downliners Sect,
who borrowed from Bo and Chuck anyway.
The trouble is that some of the songs are an uncanny
reproduction of The Headcoats' style; the vocals, the guitar breaks, the drum sound – everything!
It's all so reverential they could be a Childish tribute band. For my money all the best '60s garage
bands used the likes of The Beatles, Kinks and Stones as an inspiration but not a strict musical template,
creating something strangely wonderful in the process. Similarly, Thee Fine Lines can be a really
good modern garage band when they choose to be fired by the Hangman sound without duplicating it.
www.licoricetree.com
Phil Suggitt
THE GRUESOMES
Cave-in! (Ricochet Sound; CD)
Here is the "new" offering from Montreal's finest purveyors of garage
punk – The Gruesomes. This album was originally released in 2000 on the Tyrant label as a come-back album
and now, thanks to the fine folks at Ricochet Sounds, makes its return after a number of years in limbo
alongside the wonderful Live In Hell (reviewed last month in case you want to cross-reference
dear reader). It seems that although time has inevitably matured these tyrants of teen trash into monarchs
of middle aged mayhem and seen their bowl cuts reduced to short back and sides it has not diluted their
desire to keep churning out all manner of fuzz punk, teen-beat and general '60s inspired tomfoolery.
So what you get is the classic Gruesomes blend of snappy lyrics, snotty vocals, wailing guitars and choice
covers all delivered with the usual healthy dose of spit and a modicum of polish. However, this record
is also a progression with some lovely farfisa driven psyche, poppy harmonies and jangly guitars.
Youngsters take note – these hipsters may be ageing but they can still teach you a thing or two about
how to make music the old fashioned way. Let's hope that the goresome foursome deliver another opus soon
or at least before they become the gurus of geriatric grunge – even though I am quite sure they will
surely outplay any young gunslinger that may care to wander into town looking to take their crown.
www.myspace.com/thegruesomes
Arthur Cravan
THE MAINLINERS
The Mainliners (Crusher Records; CD)
It's the curse of The Creeps all over again. Scenario: retro Swedish garage band cut a decent Stonesy album
(reviewed in May 2005),
wear the gear and play honest rock and roll before the idea of success makes them cross the tracks
to become corporate rock sell outs. New album The Mainliners rawkin' The Boss-styled fist
in the air stadium styled anthems make the group come close to sounding like Razorlight! It's not all
quite so obvious and unashamedly horrible, and at times their '70s rock styled moves almost get me.
But it's just too forced and unnatural.
No doubt this image change may do them some good. Who knows? America may even buy it... but for me
this is an unwise and very uncool move. Plus their new look is horrible.
www.crusherrecords.com
Jon 'Mojo' Mills
STEVEN MARK
Racing Grey (Basset Records; CD)
If a song has a strong tune, I tend to notice the lyrics. Conversely, if a song lacks a striking
tune I tend not to notice the lyrics, no matter how good they are. Consequently I didn't really take
note of the lyrics on Steven Mark's previous album, Aloneaphobe, but immediately recognised
the quality of the words on this, his third release, because the tunes are so much better.
With experience as a playwright, it isn't surprising that Steven can string a good sentence together,
but he has also refined his songwriting. Racing Grey is easily the best
thing he has done so far. There is a lot more variety than on previous albums, with lots of double
tracked vocal harmonies and a far greater sense of musical dynamics in the songs.
Racing Grey is a melodic pop-rock album with elements
of folk-rock. Steven's work shares several qualities with the solo albums of ex-Cheepskate Shane Forbert;
a similar vocal range, melodic invention and intelligent lyrics. Songs range from descriptions of home turf
('Abingdon Square' ) to contemporary social commentary ('The Paris Hilton Generation').
The theme running through the album is that of mortality, but don't
get the idea that this is a collection of dirges about death – in reflecting on mortality, Steven also
considers the joys of life, resulting in touching love songs like 'Forever Tonight'.
The sole cover is a fine reworking of Bacharach's 'Always Something There To Remind Me'.
I grew up with the great Sandie Shaw version, which is really uplifting, despite the lyrical content.
Steven's version transforms the song, to mirror the bittersweet feelings of memory and loss in the lyrics.
www.stevenmarkmusic.com
Phil Suggitt
THE RAUNCH HANDS
Bigg Topp Licorice Tree; CD)
The first song, 'The Sophisticated Screw' sums up all that is good about The Raunch Hands.
After listening to a lot of sweet melodic pop, it's good to listen to their sweaty, lewd rock'n'roll,
with a dirty sound and dirty lyrics…. and you can dance to it. The cover of their 1980s
Spanish live LP displays the bands name in a logo of dildoes, which kind of sums up their sound
(probably best appreciated live).
The EP/mini-album format would be the ideal
showcase for The Raunch Hands, if it were still economically viable.
Over the course of three or four songs, they can be refreshing and fun. Over the course of an
entire album, there is "too much of a muchness". The main difficulty is the macho, aggressive vocal
style of Chandler, which works well on the aforementioned 'The Sophisticated Screw' and the more
restrained 'You Don't Care', but the abrasive, harsh style tends to grate over the course of a CD.
Songs like 'Kick Me One Down' lack the sassy style of the better tracks,
and tend to bludgeon the listener into submission rather than get the feet tapping.
www.licoricetree.com
Phil Suggitt
THE RED BUTTON
She's About To Cross My Mind (The Red Button; CD)
A cover photo of a mini-skirted girl wearing a pair of those Nancy Sinatra boots and a back cover
showing a dozen gorgeous girls posing near Big Ben, c.1965 gave me a very good feeling about this CD,
a feeling that was completely justified by the actual music.
The Red Button are essentially LA songwriter Seth Swirsky
and ex-Rex Daisy Mike Ruekberg. The duo writes and sings the songs, and play almost all the guitars
and keyboards, ably abetted by a rhythm section. Their sound is POP
with a capital P. The opener, 'Cruel Girl' showcases their marvellous vocals and harmonies,
terrific chiming melodic guitar parts and top notch song writing. The big, bright production and
bouncy optimism of the music echoes their obvious heroes, The Hollies, early Beatles and Badfinger.
(The Resonars would also be a modern reference point).
I was completely sold by the second song, the terrific title track. All eleven tunes are great.
I name The Red Button as the power pop princes of 2007 and suggest that fans of the "big pop sound"
would be mad to pass on this one.
www.TheRedButton.net
www.myspace.com/theredbuttonband
Phil Suggitt
THE REDLANDS PALOMINO CONSPIRACY
Take Me Home (Laughing Outlaw; CD)
OK, if you want to deal in narrow genre boundaries, The Redlands Palomino Conspiracy are an English band
playing Roots Americana, Alt-Country, Country Rock, or whatever you want to call it. If you can get
past any prejudices and preconceptions about that, they have written some of the finest contemporary
pop songs you will hear this year. Husband and wife team Hannah and Alex Elton-Wall write fantastic
songs with gorgeous, anthemic choruses and the whole band imbue them with a genuine sense of passion.
The vocals are, quite simply, superb. Hannah's strong but sweet voice complements her husbands'
raw but tender delivery. I can't stop playing 'Burning It Down', which boasts a great chorus and three great
vocal parts, presumably also involving pedal steel guitarist David Rothon and drummer Jamie Langham.
Several of the other big
country/pop songs, such as 'Wasted On You'. 'Coastline' and 'Harbour Lights' are equally terrific.
Any fan of great pop music will love these tunes, even if they don't listen to a lot of Americana.
Pedal steel guitar can be one of the most mawkish and over-used instruments, responsible for
some of the most excruciating moments in the schmaltzy history of mainstream country music.
The Redlands Palomino Conspiracy know when to use the instrument to good effect and, crucially, when to use
it subtly or not at all. This album was recorded in the summer of 2005, but the wait has been worth it.
The quality of the songs and the vocals puts this album beyond narrow genre boundaries –it's just
great pop music.
www.laughingoutlaw.com.au
Phil Suggitt
THE SHIMMYS
Shake! Stomp! Shimmy! (Off The Hip;
CD EP)
Off The Hip's website describes this Australian girl trio as "trashier than Poison Ivy's lingerie
collection and more primitive than Wilma Flintstone's hen night". We all know that Wilma's party would
really be a sensible and respectable affair, and that nothing is trashier than Ivy's lingerie
drawer! Seriously, the label also describe the girls as
"the spiritual sisters of The Sonics, Nancy Sinatra, Thee Headcoatees, 5,6,7,8's, Pandoras and
The Carrie Nations". This part is right on the money, as The Shimmys look the part, have cool names
like Suzy Watusi and present five tracks of joyful garage trashe pop. A mix of originals like
'Gotta Guy', standards like 'Money' and covers of Mummies and Sonics tunes, it's all great stuff.
I hope they include an organ player live, as Evan Miller and Ernie O's additional organ parts really
enhance the sound of the guitar/bass/drums line-up.
www.offthehip.com.au
Phil Suggitt
JACQUELINE TAIEB & AMSTERDAM BEATCLUB
7hr du soir (Hippo; CD EP)
Forty years after her emergence as a hip French chanteuse and songwriter, the career of
Jacqueline Taieb is enjoying something of a renaissance. Jacqueline never really went away,
writing songs for movies and hit songs for other people. I have always enjoyed '60s French girl pop
(a la the Ultra Chicks CD comps, etc.) but at the risk of annoying true devotees of the genre,
a lot of it is spoilt by unsympathetic arrangements played by musicians with little sympathy for pop,
let alone rock'n'roll. Tacky string parts didn't help, either. Happily Jacqueline has got together
with a group of sympathetic musicians who can do justice to her songs. Amsterdam Beatclub are a
collective of Dutch '60s enthusiasts who give the songs the backing they deserve without making them
sound too modern and shiny.
The organ and sax work well on 'Partir a Amsterdam', a really strong tune. 'Juste un peu d'amour'
has cool electric sitar, sax and percussion interplay which give it a great Middle Eastern feel.
The title track relates to Taieb's 1967 song '7h Du Matin'. On first
hearing the lyrics of '7h Du Soir' sounded interesting, but were too fast for my basic French.
Luckily the fourth track is an English version, '7pm'. Hopefully this four song EP will be followed
by a full album.
www.HippoRecords.nl
Phil Suggitt
THE THANES
A Night In Great King Street (Larsen; 10" vinyl LP)
If there is a contemporary band that sums up all the things that Shindig! loves and stands for,
it would be The Thanes. For over twenty years they have been the real deal, a perfect blend
of Edinburgh, Amsterdam and San Francisco style garage-beat.
This live album presents 12 tunes "recorded in a dingy cellar" and proves that the band are just as great
on stage as in the studio. Indeed, much of this album is similar in quality and content to the bands'
recent shows at The Dirty Water Club. Over the years the '60s clothes and hairstyles have gone,
so that the band now look like four very ordinary looking guys on stage – but who needs fancy clothes
with a sound this good?
The five Angus McPake songs here show
just what a fine writer he is. Over the past decade he has quietly contributed some of The Thanes'
finest tunes, such as the jangly folk-rock classics 'World Of Stone' and 'Come What May', (which sits nicely
beside the bands' classy cover of The Beau Brummels' 'Don't Talk To Strangers').
Excellent originals are mixed with tasty covers of Dutch and Scottish '60s beat tunes, effortlessly moving
from driving punkers to great folk-rock with strong harmonies. My only reservation is that many of
the songs have already appeared on previous Thanes' albums. I appreciate that the band are not prolific
songwriters, but perhaps they might have slipped in a few more obscure, previously unrecorded covers.
I don't want to sound picky, I'm just greedy for more! To quote Mr. Mills from his liner notes to the
Rev-Ola Evolver CD: "Vintage music with a twist, beamed directly into the 21st century.
Stuff this good just won't go away, come rain or shine, fad or fashion."
http://larsen.asso.fr/
Phil Suggitt
THE UGLY BEATS
Take A Stand (Get Hip; CD)
The Ugly Beats' first CD was good, but this, their second release, is great! The Austin, Texas combo
accurately describe themselves as a "folk/beat/garage hybrid". The tunes are simple and direct,
in a '60s garage vein, but guitarists Joe and Jake avoid fuzz clichés and play a lot of jangly folk-rock
chord changes instead. The tunes are characterised by the simple but highly effective guitars,
farfisa and a driving but not overloud rhythm section.
All 14 tunes are memorable, melodic, varied and catchy. They are also danceable and upbeat.
One of the group's major strengths is the singing; all five 'Beats sing, and take turns to sing lead vocals.
Harmonies and background vocals abound. I won't single out particular songs because I'd have to mention
them all - the quality is consistently good. The whole album brims with an infectious enthusiasm
and joie de vivre. This is one of the best releases by a '60s influenced band this year so far.
The 'Beats are bright, bouncy, hooky and catchy – but definitely not ugly!
www.gethip.com
Phil Suggitt
VARIOUS ARTISTS
Hellbound Honeys Vol. 1 (Off The Hip; CD)
This collection showcases seven girl garage bands from all over the place. Each band gets two
tracks apiece to strut their stuff. The emphasis leans towards the raunchier end of the spectrum.
Australians The Booby Traps and The Shimmys stand out from the crowd – their songs are good, have a
sense of fun, and you can dance to them. 'Ms. Fireball' is one of the best songs from The Booby Traps
excellent debut album (see reviews),
and The Shimmys cover the great 'Saturday Date', originally recorded by Aussie '60s chanteuse Toni McCann.
Argentina's Las Curvettes (cool name) present the fine 'Hit Me' which has the slinky, slightly sleazy
feel of a spaghetti western soundtrack. The general drift of the lyrics is that the singer wants
her partner to give her a good seeing to. Nothing wrong with that, but, although difficult to make
out – I hope I've got it wrong - the line 'Hit Me, Suck Me, Rape Me' won't impress many women.
Elsewhere, Germany's Cherry Pops are brave enough to sing in their native language. The Cherry Pops songs,
and those of Thee Girlfriends (Spain), Thee Minks (USA) are ok, but sound pretty similar; a punk-pop
sound that owes as much to 1977 as it does the mid-1960s.
www.offthehip.com.au
Phil Suggitt
