BABY WOODROSE
Drop Out!
Love Comes Down (both Bad Afro; CDs)
My relationship with Baby Woodrose - in a nutshell - has developed
as follows. First I heard the debut Blows Your Mind done by the main guy
Lorenzo Woodrose as a solo effort and I became kind of curious in a good
way. Then came Money For Soul and I realised that Baby Woodrose had
turned into a real band, that I happened to like. Then I saw them live
for the first time and as Lorenzo started the first song of their set
with the most mind-melting-soaked-in-acid-in-your-face-fuzz-guitar-freakout
imaginable, I became a fan. This Danish trio was way heavier, more
menacing and more intense package I had expected. They were the real
acid-punk-deal and that night they sounded pretty much like the best
European garage band since The Strollers decided to call it a day.
Let's make it clear right away: Baby Woodrose are not a garage
band for the most purists element out there. They mix up a lot of
flavours in their sound, although it's firmly rooted in classic bands
like The Seeds, Lollipop Shoppe, Music Machine, Love and the like. At
times they get kinda punky in a '70s sort of way, occasionally there's a
whole lot Detroit-baked snot ala Stooges in the mix and old school power
trio-thump a la Blue Cheer and Jimi Hendrix Experience is also present
in their act.
Their second latest album Drop Out! is basically an introduction
to where they're coming from musically. It's all cover versions of stuff
ranging from semi-obscure to classic. The bands they pay tribute to
include heavies like The 13th Floor Elevators, Love, Captain Beefheart,
Stooges and The Sonics and also lesser known garage punkers such The
Savages and Florida's Painted Faces. Quality wise the effort shifts
between decent and quite good. The jangly side of this hit parade works
best for me: little known gem 'Lost You In My Mind' and Love's 'Cant
Explain' are delivered with great conviction by Lorenzo, Riky and Rocco
Woodrose. Some of the punkier sides on the others sound a little
run-of-the-mill or even boring, as in the case of The Saints-classic
'This Perfect Day' or The Stooges' 'Not Right'. Drop Out! is definitely
a labour love, done by card carrying garage-heads, but as a Baby
Woodrose record I see it as a interlude or entertaining little ditty
before the actual tour-de-force, 'Love Comes Down'.
Their last offering is just a bloody brilliant rock record,
period. There are some uninspiring moments on this record too- for
example I could've done without the MC5-Stooges-aspect presented on few
cuts here- but that doesn't matter. Because when Baby Woodrose succeeds,
this trio sounds truly fantastic and quite exceptional compared to your
average tons-of style-little-substance- garage-band. Baby Woodrose and
especially band's frontman and songwriter Lorenzo has the courage to
really pour the soul and emotions out and when that happens on the
darker, moodier and more melancholic cuts, they come up with some
hair-raising music. In the future I kind of wish they would concentrate
more on the semi-depressed stylings similar to the band's biggest hero
Fred Cole and truly mastered by Lorenzo Woodrose already in his On
Trial-days. The psychdelic path opened by the album's magnificent title
cut sounds also quite promising. Enough with the happy-go-lucky-sound
for the party people.
What the world needs now is some sad and soulful music.
http://www.badafro.dk
Pekka Laine
THE CHAINS
Till You Come Back Home/The Boy Who Took My Place (Screaming Apple; 45)
We loved these guy's full length album on Get Hip a few years ago and a few
years after that, apologies Screaming Apple, they released this fine 45. Where have we been?
The Chains precisely recreate the spirit of The Spencer Davis Group combining pop melodies with a
tougher R&B styled backing. 1966 year zero! It won't change the world or stretch the imagination,
but it's impeccably well done. Are the band still active?
http://www.screaming-apple-records.de/
Jon 'Mojo' Mills
THE DARK BEAKS
Spill Your Heart (Fishrider; CD)
The Dark Beaks are a three piece from Dunedin, New Zealand. In many ways
they hark back to the "Dunedin sound" of the '80s, when a bunch of excellent Flying Nun records bands
made waves in Europe and the USA. Musical isolation on the southern island of NZ produced a group
of musicians who played oddly familiar yet subtly different indie pop.
In some ways it is helpful for The Dark Beaks to be part of a tradition that includes the likes
of The Chills, Clean, Bats, Verlaines, Sneaky Feelings, etc, as it provides a useful and immediate
reference point. Anyone (like me) who enjoyed these bands will find much of interest here.
My own visit to Dunedin was mixed. It never stopped raining and the winds at the
campsite were so bad that we thought the van was going to tip over. On the other hand, there was a thriving
live scene which included many musicians largely unknown outside of the town.
Aspects of The Beaks music is clearly in the Dunedin tradition; the rolling rhythms and melodies,
gentle, sometimes fragile vocals, the quiet, almost understated songs with a moody, melancholic charm.
Guitarist, vocalist and songwriter Andrew Jamieson has crafted several fine tunes in this style,
notably the more upbeat opener 'Dream About You', the short but memorable 'Spill Your Heart'
and the slow burning 'Take Your Time'.
On the other hand, the atonal, noise guitar solo in 'Seal Was Unbroken'
doesn't do anything for me, or the clunking riff of' 'Eyes To The Ground'. Although there are some
ordinary and weaker tunes, the band does show a lot of promise.
www.darkbeaks.com
Phil Suggitt
DEADMAN
Deadman/Thousand Mile Stare (Crusher; 45)
Just like the 1960s-- and I dig this--
Ex members of Swedish purist beat band The Roadrunners and fuzz garage/psych band
The Strollers have evolved into bearded acid freaks playing experimental imorov songs with central acoustic
motifs and some well and truly fried acid freak outs. Although these cuts are clerarly rehearsals they
paint a good picture of what we can expect on the Deadman's (now available) album review will follow.
Purist Swedish beard rock, and I feel good for it.
www.crusherrecords.com
Jon 'Mojo' Mills
THE DEFECTORS
Bruised and Satisfied ( Bad Afro; CD)
Denmark's Defectors specialise in furious '80s fuzz'n'farfisa garage.
The first half of this album is a collection of "horror schlock" numbers about dancing ghouls,
zombies and suchlike. The other six cuts are more conventional fare about sex and lust.
I much prefer the second set, which is more upbeat and has more hooks
and backing vocals. Individual songs such as 'Getting It On' and 'Baby When You're Gone'
are exciting, but there are two reasons why I can only take The Defectors in small doses.
I concede that the band conjure up a mighty wall of sound, and that Martin Budde plays neat keyboards,
but behind the sonic attack there is a shortage of sharp tunes, variety and memorable melodies.
Lyrics like "I wanna fuck you 'cause you're looking good" don't help.
The trouble begins when you make comparisons with other bands such as The Stomachmouths.
In the '80s The Stomachmouths also dished out their share of fuzz, farfisa and screams, but their
records and live tapes were also brimming with hooks and catchy songs.
Secondly, vocalist Mort Harder has a raw, rough and powerful voice,
but he almost always chooses to shout or scream he hardly ever sings. This works for a couple of songs,
but it becomes really monotonous and predictable over the course of a whole album.
As for the title, I feel bruised but not satisfied.
www.badafro.dk
Phil Suggitt
DION
Bronx In Blue (Razor and Tie; CD)
This is the album Dion has always wanted to make. As he says himself in the
sleevenotes he grew up listening to the blues not rock 'n roll and has been carrying these songs around
in his head for fifty years. Not dissimilar to the sound he got for Warners in the '70s this
is just Dion and his acoustic guitar with drums and percussion by Bob Guertin AKA The Hurty Gurty Man,
on thirteen tracks split between deep rural blues and the sound of postwar southside Chicago,
plus one he wrote himself. The voice remains pure and unmistakeable, the guitar playing powerful and
what shines through is that this is an album sung from the heart and done for the love of the music.
Highlights include 'Walkin' Blues', 'Who Do You Love ,and 'Honky Tonk Blues' but this is nit picking for an
album which is just beautiful in its own simplicity. Highly recommended.
http://www.razorandtie.com/label/artistdetail.asp?artist=433
Pat Curran
THE DOLLY ROCKER MOVEMENT
A Purple Journey Into The Mod Machine (Off The Hip; CD)
The title is slightly misleading, as it suggests full-on pill-powered freakbeat,
whilst Australia's Dolly Rocker Movement are most at home playing reflective, mid-paced, folk-tinged
pop-psych.
Guitarist, vocalist and songwriter Daniel Poulter (aka Dandelion)
has created a set of attractive and understated melodies, such as the 'For Your Smiling Eyes',
its sister song 'For Those Teary Eyes' and the enchanting 'Gypsy Dancer'. Daniel must be going
through a prolific period, as it only seems about five months since I reviewed the first DRM album.
The liner notes reveal that Daniel played half of the album without his band mates. He must wake up
in the morning and think "Hmm, must write and record a new song before lunch!"
Seriously, this is a fine album. Penelope Jane's backing vocals are very
effective on folk-pysche songs like 'I Can See Through Orange'.' Even when the band adopt a 60's
garage approach on 'Get Up Au Go' and 'Yell It Like It Is' their approach is restrained rather than
fast and noisy. This album is likely to consolidate the considerable fan base the band established
with their first release.
www.offthehip.com.au
Phil Suggitt
ED JAMES
In The 21st Century Jam; CD)
I was immediately drawn to the cover photo, a cute toy Japanese robot in close up.
You always hope that the contents of albums with covers as eye catching as this one will live
up to the cover. Luckily this one delivers the goods. Not only does Ed James have good taste
in toy robots, he has good taste in music. Ed plays super melodic power pop with really pristine,
layered vocal harmonies. Ed plays and sings virtually everything, double tracking his own voice.
Apparently this is his fourth album, but the other three have escaped my notice.
There are 13 songs about girls in classic Beatles/Jellyfish/Rubinoos style.
From the big choruses of 'Star Trek Girl' to the lush harmonies of 'She's The One' this is a winner.
www.jamrecordings.com
Phil Suggitt
THE EXCITERS
Dial "E" For Excitement EP (Dirty Water; 45)
I'm not going to say anything bad about the product of two ex-Nuthins
am I? Lee sang with us in the early days and contributed some fine songs, as well as directing us all well
and truly on the path to garagedom, and Rich has played with me for years and years
but hey, Dirty Water
aren't going to want to use my reminiscences for their press kit are they?
So let's cut to the review.
I enjoyed the first 45 but this follow up builds on the dirtiest side
of Pebbles with a dose of The Stooges and even The Saints. This is garage music with balls,
but let's not lower the tone and call it punk. Think more along the lines of The Bold on a
bender or The Q65 on uppers and cheap whiskey. No merit marks for subtlety or politeness then,
but The Exciters gain honours in unabated rock and roll. Cool production from Bruce Brand and Ed Deegan
in London's Gizzard studio.
www.dirtywaterclub.com
Jon 'Mojo' Mills
THE HARA-KA-REES
Can't Stop Thinking About You/I'm Walking Babe (Kuriosa; 45)
Woah! Just as I thought there wasn't much happening in garage along comes
this amazing 45 complete with a Back From The Grave act styled sleeve. These guys from Cologne
have evolved nicely over the past couple of years, and on this 45 they're pounding. Their Northwest
edge swings (heard here on a fine cover of The Unusual's 'I'm Walking Babe')
whilst band original and top side 'Can't Stop Thinking About You' has that fab mix of jangle and organ
that everyone from The Wylde Mammoths, Sick Rose (and yes, my old band) The Nuthins dished out to
unsuspecting punters throughout the '80s and '90s. A really fab garage single!
http://www.kuriosarecords.com/
Jon 'Mojo' Mills
THEE JENERATORS
Who The Hell Is Frank Wilson? (CD ep; Biff!Bang!Pow!)
This three song EP is the best thing Thee Jenerators have done so far.
I was rather disappointed with their first full length CD, which had lots of raunch and modern garage crunch
but nowhere near enough of the melodic invention and pop hooks that characterised vocalist Mark Le Gallez'
earlier work with the likes of The Risk and The Sacred Hearts. Happily the balance has been redressed here.
All three of the tunes motor along, but there are plenty of good choruses and upbeat vocals,
especially the jaunty 'Gotta Go'.
Mark knows all about classic garage pop, so he must be having a little joke
by naming the second tune 'Shake Some Action'. The song is actually rather good, with some tasteful sax,
but in the same way that you can't have two songs named 'She Loves You' or 'Paint It Black',
there just can't be two 'Shake Some Actions!'
www.biffbangpow.org.uk
Phil Suggitt
THE MAHARAJAS
Weekend Sparks EP (Crusher; 45)
What do I need to say about this other than not many bands in the Universe
can pull of pounding tunes and angst ballads like these fine Swedes. Hairlines and figures may not
match the 20-something but these four songs impress on all counts making me wonder at the success
of so many lesser bands, no names mentioned. This is garage punk from the 1960s and rock and roll
from the 2000s. It's infectious and addictive and makes you wanna drink, dance and holler.
Thank you Jens and the boys!
www.crusherrecords.com
Jon 'Mojo' Mills
THE PINK FITS
Fuzzyard Gravebox (Off The Hip; CD)
I have lost count of the number of times I have watched a band's set and
thought "This might be good if only there was a decent mix I can hear the guitar but the tunes are
struggling to be heard". As The Pink Fits recorded this album in four hours, this is such a live set.
Whilst I prefer a fresh, simple approach to spending two months just getting the right drum sound,
but in this case the emphasis is on the sledgehammer/pile driver riffs at the expense of the vocals,
which generally struggle to rise above the maelstrom. The songs that are poppier and more "arranged"
stand out, showing that powerful riffs and neat tunes can live happily together.
If you like loud,, riff-based rock, this could be for you. Live, the band
could be energetic fun, but the trouble is that few of the riffs are so memorable that they deserve
a place in the "Hall Of Classic Rock'n'Roll Riffs".
www.offthehip.com.au
Phil Suggitt
RADIO MOSCOW
Radio Moscow (Alive; CD)
Radio Moscow is not so much a band as Parker Griggs' solo project,
as he writes and plays almost everything but the bass guitar. Parker is highly influenced by late
'60s/early '70s heavy psychedelic blues rock; sadly not the likes of Cream, but the legions of early
'70s bands who followed in their wake, but lacked Cream's songs, virtuosity or sense of dynamics.
There are too many long and indulgent guitar solos, which soon become boring. Still, the acoustic
Eastern tunings of the instrumental 'Ordovician Fauna' make it the most interesting thing on the album.
As for the other nine tracks, if you like Blue Cheer and Stoner rock it's likely this album will appeal
to you.
www.alivenergy.com
Phil Suggitt
FRANK ROYSTER
Thru The Years ( Kool Kat; CD)
The opening tune, 'I'm So Glad' is a gorgeous slice of jangly guitar power pop,
with echoes of the early Smithereens in the vocals and the song structure.
The rest of the album is fine driving music, full of original, solid pop tunes, but nothing quite
as strong as the first cut. Theseare enjoyable without moving into the premier league of classic
tunes that stop you in your tracks or refuse to leave your head.
Frank's voice has been classified as part Elvis Costello, part Pat DiNizio
of the Smithereens. There are definitely traces of Costello on songs like 'You Don't Understand'.
Like Elvis Costello, Frank's voice can sound reedy on the louder numbers. I don't buy the DiNizio
comparison The Smithereens' vocalist has a warmer, more individual tone.
http://www.koolkatmusik.com/
Phil Suggitt
THE SACRED SAILORS
You My Friend/Love Sound (Crusher; 45)
I love the Swedes, and here's another example of a band that take their
rock and roll and fashion seriously, failing to screw it up quite like the new wave of British
youngsters who're intent on reviving that contrived and supposed forward thinking era, the 1980s.
The Sacred Sailors vocalist, Manne Olander, reminds me somewhat of Fred Cole, whilst the musical
accompaniment throws in elements of The Stones and every pre '74 band that were inspired by Mick's
ass shaking. Bloody good pre Stadium rock played by kids. What a wonderful world!
www.crusherrecords.com
Jon 'Mojo' Mills
MARTHA TILSTON
Of Milkmaids & Architects (CD; Squidgy)
Martha Tilston's second album puts
her up there with the classic stylists of British female Folk music. (If you don't know who I mean
you probably won't be interested in this album).
Her band, The Others, provide a highly sympathetic all acoustic backing
while the songs mix contemporary folk-pop with original tunes that 'sound- trad.arr.- but- aren't'.
Three traditional songs are also included. The highlight is the excellent 'Architect' which showcases
Martha's song writing ability, her gorgeous voice and the instrumental abilities of the band,
ending with a haunting oboe solo.
www.marthatilston.co.uk
Phil Suggitt
THE TRIPTAMYNDS
Stories From The Other Side (Reflective; CD)
The Triptamynds are a two man operation. Gaz Hunter plays virtually all
the instruments and sings, whilst Simon Ince handles keyboards, samples and programming he plays
the Dikmik role to Hunters' Dave Brock.
A common theme runs through the eight songs they are all about trips
and getting high. Four tunes that don't fit the concept are included on a bonus EP, including songs
by Arthur Lee and Syd Barrett, in tribute to deceased heroes. The Triptamynds explore similar
psychedelic terrain to the early Bevis Frond albums, and any Bevis fans will find much to enjoy here.
Like Bevis, Gaz is an accomplished guitarist and songwriter, and it is clear that this album
is a labour of love. The multi-tracked vocals are very effective on memorable psyche tunes
like 'Crossing The Red Electric Fields' and 'Love Will Follow Love'. The bands assimilate a whole
slew of '60s and early '70s psych influences to create something melodic but genuinely trippy.
Simon's contributions include the intriguingly strange instrumental 'Do You Hear Them?' and the amusing
'Make Love Not War', a sample of a Mr. Cholmondleigh-Warner voice reporting on army drug experiments.
My reservation is that Gaz is a big fan of wild acid fuzz-drenched guitar wig outs.
Whilst they effectively complement some of the songs, their effect is diluted by their frequency.
Less is more, and the flashing-finger freak outs can be self-indulgent.
www.myspace.com/thetriptamynds
Phil Suggitt
VARIOUS ARTISTS
Hipsters (Acid Jazz; CD)
This is a terrific CD that is like going to a party, meeting some old
friends and making some new ones. Half the bands are my favourites from the past few years.
Some of the tracks by bands I haven't heard before are also great, and all are good. There are 13 tunes
from an impressive international array of contemporary mod and garage bands.
Most of the songs have been previously released on other labels. The admirable intention here is
to raise the profile of the bands.
This is a great collection that has been carefully compiled there
is a variety of styles and not a weak track to be found. Half a dozen
of the featured artists will be familiar to Shindiggers, and have regularly earned glowing reviews
on this site. There are some swinging instrumentals from The Waistcoats and
The Slow Slushy Boys, plus wonderful garage pop anthems from The Len Price 3, The Loons and The Risk.
There is also perky punky pop from The Stabilisers, who actually are an Acid Jazz band.
I enjoyed all the less well known bands, particularly Belgiums'
The Gonks, The Dansettes gorgeous girly soul stylings and the fantastic dancer 'Coming Up Roses'
by the New Mastersounds.
As well as 13 top tunes the liners have lots of attractive pictures of "Sheila's
on Scooters". How can you lose?
www.acidjazz.co.uk
Phil Suggitt
VARIOUS ARTISTS
Takin' A Detour Volume 3 (Detour; CD)
It's hard to believe that ten years have passed since Takin' A Detour Volume
1. All the artists on Volume 1 have long since disappeared into the mists
of time, but Detour should be congratulated for continuing to put out compilations of relatively obscure
garage and mod bands. Detour know they aren't going to get rich giving exposure to bands who play
for love not commercial success, but they care enough to keep doing it. (Every country in Europe has
a little label that champions Shindig-style music; Larsen, Misty Lane, Breakaway, and so on.
They need our support!)
This collection presents nine bands, all of whom are new to me. Sensibly they
get two tracks each, to give them more of a chance. Music Apartment and The Subcandies have risen
from the ashes of Austria's excellent Jaybirds. Germany's Monocaines play in a soul/garage style,
whilst Swivel show that there is plenty of life in Bognor Regis. The Sawdust Caesars and The Q turn
in some well crafted and anthemic tunes. Of the two Japanese contributors, 96 Tsubu No Namida (Tears)
are young lads in love with the '80s garage sound, whilst The Freaque are musically more advanced
and have absorbed a range of '60s influences. There is plenty to enjoy here
and everyone will have their particular favourites.
My only criticism of the package concerns the liner notes.
I wish the compilers had corrected the weak, ungrammatical English of the two Japanese bands.
Leaving their bios in pidgin 'We are crazy Japanese' English may be well intentioned but comes over
as very Euro-centric and patronising!
www.detour-records.com.uk
Phil Suggit
