THE GERRY ALVAREZ ODYSSEY
Candy Prankster (Ricochet; CD)
Fans of the excellent and long established Montreal garage band The Gruesomes might
be a little surprised by the first solo album from lead guitarist Gerry Alvarez. The Gruesomes' '65-'66 inspired crude R&B and garage punk snarls are replaced by a '67-'68 pop-psyche ambience. It is a wise move for Gerry to show another side to his musical character, rather than just make another Gruesomes-style album (good as they are).
All eleven songs are written and arranged by Gerry, who also plays most of the instruments and does all the singing. In a sense the album is greater than the sum of its' parts. Over a series of tracks a psychedelic (narcotic?) mood is created, faintly reminiscent of The Church and Revolver-era Beatles. There are some distinctive and intelligent tunes such as the title track. Taken individually some of the tunes are pleasant without being particularly memorable or distinctive on their own. This is partly because the songs are all slow to medium paced. Taken collectively, the tunes create a really satisfying dreamlike mood.
www.gerryalvarez.com
Phil Suggitt
THE BOOBY TRAPS
The Booby Traps (Off The Hip; CD)
When I visited a friend in Sydney last year he was full of praise for local band The Booby Traps. I was converted when he played me the self-released EP that the band sold
at their shows. We had both been big Headcoatees fans, so it was no surprise that we also liked three girls and two guys playing good uncomplicated 60's garage with a girl group sensibility.
This full length Booby Traps CD is full of simple, immediate self-penned tunes that stay in your head after the very first play. The rhythm section (drummer Alex Lukisch, bassist Fiona Whalley and rhythm guitarist Brigitte Salden) are a real strength, as they anchor all the songs with a really solid danceable backbeat. Guitarist Brett Barton is an economic guitarist who knows that less is more.
Quite simply, anyone who likes the aforementioned Headcoatees, early Pandoras, Nikki & The Corvettes etc. will love this. The vocals, by Carrie Phillis, abetted by the girl-group inspired backing vocals of the other two girls, provide a great counterpoint to the uncomplicated garage playing. I was hooked from the very first track, 'Should Have Known Better', although my favourite is 'Ms. Fireball'. (Hell, the world needs more catchy anthems to sleazy cycle sluts)!
www.offthehip.com.au
www.ttux.com/theboobytraps
Phil Suggitt
HERB EIMERMAN
Just Barely Famous (Jam; CD)
In many ways Herb Eimerman's music is the modern equivalent of many of the artists on the Fading Yellow series, (although it should be added that Herb's soft, gentle pop is mercifully free of the inappropriate strings arrangements that mar some of the Fading Yellow material).
Herb plays and sings almost everything on this CD, which has a very polished, clean sound. The lead vocals can occasionally be a little 'polite' and lightweight, but there are also some real gems here. The first few songs are pleasant rather than striking. If I was sequencing the tracks I would start with the excellent cover of George Harrisons' 'Stuck Inside A Cloud', with great guitar, and follow it with the extremely catchy, jangly 'Vanished Shadows'. 'Shadows' is one of half a dozen tunes co-written with Stefan Johansson, all of which mix memorable hooks with a strong dose of jangly guitars. 'Where I'm At With You' is particularly notable for the excellent vocal duet with a lady named Becca. Herb contributes some fine tunes of his own, such as 'Tell Me Where' which sports a beguiling, chiming guitar figure.
In summary the casual listener would do well to investigate beyond the first few songs, as the strongest and most appealing tunes appear towards the middle and end of this 16 song collection. By the halfway point Herb's subtle and gentle pop tunes will win you over.
www.jamrecordings.com
Phil Suggitt
THE FLAPS
The Flaps (Kelp; CD)
Canada's The Flaps fulfil the three criteria for making a good instrumental album. Firstly, they sound like a real band; all four members have something to contribute. Too often
instro records are just a showcase for one player, usually a guitarist.
Secondly, there is a lot of variety and invention, not just a series of variations on a single tune or theme. The band's biography says they originally intended to play instrumental music reminiscent of the soundtracks of European B-movies featuring vampire lesbians. The Flaps have a highly atmospheric sound that would be ideal for all kinds of movie soundtracks. You might say that they have evolved so that they can now provide the musical backdrop for the sort of B-movie where space aliens land on earth and fight Italian cowboys and men in monster suits and vampire lesbians have an orgy with a bunch of man eaters on motorbikes. The longest cut, 'Sexy Girls' is a favourite, as is the featured organ in 'Big Wayne/The Scrambler'.
The third requirement for a good instrumental album is that the band should be a little bit weird and wacky. The Flaps do not disappoint, as they have rejected perfectly normal names such as Melvin Intrilligator and Wayne Combover for ridiculous aliases such as Pat Lawlor and John Higney.
www.kelprecords.com
Phil Suggitt
HOLLY GOLIGHTLY
Laugh It Up (Damaged Goods; CD)
Damaged Goods have re-issued Holly Golightly's second album, originally released by
Vinyl Japan (R.I.P) in 1996. Holly's idiosyncratic and beguiling amalgamation of folk, blues, pop and r&b has remained remarkably consistent over the years. On this album she puts her own style on a variety of classic tunes.
The arrangements are kept simple, a basic rock three piece embellished by harp, giving a live-in-the-studio feel, except for Holly's double tracked vocals. Holly isn't frightened of famous tunes such as 'It's All Over Now' or the traditional folk of 'Sally Go Round The Roses'. I love The Flamin' Groovies 300mph. take on 'Don't Lie To Me', but Holly's slow, sultry, sinuous approach is equally effective.
These cover versions work really well because Holly and the band never attempt worthy, completely faithful versions or radical reinterpretations, but something in between, so that the tunes keep their integrity without losing Holly's musical identity. Great stuff.
www.damagedgoods.co.uk
Phil Suggitt
THE FAY HALLAM TRINITY
Realm (Biff Bang Pow; CD)
Fay Hallam was always much admired in mod circles for her singing and organ playing in Makin'Time and The Prime Movers. It is almost 15 years since I last saw Fay on stage with the sometimes inspired but erratic Movers. This new album is not only something of a surprise; it is the best thing she has ever done. The 11 self-penned songs are real 'growers' that sound better with every play. The slower, more restrained tunes, such as 'In The Fire' and 'Free' are marvellously atmospheric and showcase some wonderful singing.
Fay's voice has often been compared with the Auger-era Julie Driscoll. Both singers have great power and a considerable range. Both have produced some superb vocal performances, but on occasion have covered up rather average songs with their fine vocals. Happily this is not the case here, as the songs on 'Realm' are a finely crafted blend of pop, soul, jazz and R&B influences that defy easy categorisation, and will hopefully attract a wider audience than the narrow mod scene. The album is well sequenced with numerous changes of mood and tempo, from'Mango,' a great jazzy instrumental featuring vibes, to powerful mod/soul stompers like 'Stand Up' and the instro 'Blackjack'. There is also a subtle cover of The Beatles' 'Blackbird', and a brace of quiet, melodic tunes which really display Fay's vocals and keyboards at their best.
Buy this CD now, and while you are at it, get the 3-song CD single as well, as reviewed by Paul Martin in the February/March section).
www.fayhallamtrinity.com
www.biffbangpow.org.uk
Phil Suggitt
MAGNETO
Resistance is Futile (PopBoomerang; CD)
It is obvious from the first few bars of the first song, 'Underground' that this debut album from Melbourne four-piece Magneto has that classic power pop sound. The vocals of John Baxter are particularly effective; sweet, but soaring, with lush backing vocals and lots of jangly choruses. As a result there is a strong 'feel good' vibe to the music.
The quality of songs like 'Shooting Star' and 'Falling' isn't fully apparent on first hearing, possibly due to the relatively polite and restrained production. After a few plays the hooks and choruses really start to work their way into your head. The band claim to wear their influences on their sleeves, namely The Stems, Big Star, Jellyfish and Cheap Trick. Whilst this album doesn't sound like any of the above, it's a sure bet that fans of the power pop sound they exemplify will like this a lot.
The word 'Magneto' always reminds me of the arch-nemesis of the X-Men. I just hope the band don't take to wearing Ancient Greek style helmets on stage, like the comic character.
www.magnetoband.net
www.popboomerang.com
Phil Suggitt
MASTICA
Uomini / Schemo Chi Spara (Crusher; 45)
Forget the aging Childish adoring garage punk bands, the young and confused 20-something english post-punk/mod kids, the Cramps/'80s garage revival… you need to hear this groovin' Italian language hard-rock/psych band. They've just blown minds at Beat Bespoke and they grabbed me when I heard this quite some time back. Superb organ/moog work, powerful guitar and a sound that curtails the best bits of late era Yardbirds, The Nazz, Deep Purple and, well, you get the deal: a late era psych, hard R&B, progressive blend straight outta '70! It's the real deal. An intoxicating shake of moves and grooves… cool looking sleeve too. I need to hear more. You know my address lads, so drop something in the post.
www.crusherrecords.com
www.mastica.it
Jon 'Mojo' Mills
THE NEANDERTHALS
The Neanderthals In Space (Munster; CD)
The Neanderthals' fourth album is split roughly 50-50 between vocal and instrumental tunes. Eddie Angel is an inventive and capable guitarist – the instros are satisfying variations that rock along nicely, with Pete Curry playing everything else; drums, bass, piano and organ. The outer-space themed songs would be fun to hear in a live situation, but on record some are superficial and others are a little annoying. Many are based on familiar pre-Beatles pop and rock'n'roll standards from c.1959-1963. There are no song credits so it is difficult to tell the covers from the band's songs. The corny tin pan alley science fiction lyrics are fun for a couple of plays, but the songs sound as if they could easily have been bashed out by a bunch of session guys in an afternoon, to appear on a budget label and sold in Woolworths for 14/11d.
www.munster-records.com
Phil Suggitt
THE ORANGE HUMBLE BAND
Humblin' (Across America) (Laughing Outlaw; CD)
After I had drafted some impressions of this album I skimmed through previous reviews on the Laughing Outlaw site and discovered that dozens of critics had made almost
identical comments. Since Humblin' was first released in 2002 critics have been virtually unanimous in their praise. Unfortunately critical acclaim is not a guarantee of healthy sales, so it is worthwhile to reiterate the comments of others in the hope that this CD reaches a wider audience.
The Orange Humble Band is a collection of outstanding talents who are well known and highly respected in the small world of jangly power pop. The band was organised by Darryl Mather, who played in the excellent Australian band The Someloves. The line-up is Ken Stringfellow (Posies) –vocals, Mitch Easter (Let's Active and a zillion production credits) –guitars, Jamie Hoover (Spongetones) –bass, Jody Stephens (Big Star) –drums, Anthony Bautovitch –harmony vocals. The guests are equally distinguished, such as Spooner Oldham on keyboards. Darryl Mather plays acoustic guitar, writes the lyrics and co-writes the songs with Easter and Bautovitch.
The first song, 'Vineyard Blues' begins deceptively, as it starts rather like classic Donovan, but when the chorus comes in you are aware that something quite different and special is going on. The vocals are simply outstanding. Ken Stringfellow turns in some of the finest performances of his career, and his vocal duets with Bautovitch are gorgeous. In addition there is some fantastic playing and classy songs, from the big pop tunes like 'Any Way You Want It' to several subtle, melodic ballads.
Sandwiched by the guitar pop tunes is a four song of rootsier songs influenced by soul and Americana, 'A Southern American Small Music Review'. This is a surprise but fits in well – the album was recorded at Ardent, Memphis, after all.
www.laughingoutlaw.com.au
Phil Suggitt
IAN PAGE & THE AFFAIR
Hold On To Your Mojo (Detour; CD single)
The title track is a good R&B belter in the tradition of Southside Johnny & the Asbury Jukes, with a prominent brass section and a big chorus. I have no idea what the lyrics mean but 'Holding On To Your Mojo' will probably make you 'Turn Japanese.'
The third song, a cover of 'The Tracks Of My Tears' is a brave attempt which doesn't come off. The original is just too good; Ian might have had more success with a more obscure soul cover.
Whilst the fake Tamla 45 cover art and imitation vinyl on the CD might direct potential buyers to the contents, such 'retro' effects are overdone these days.
www.detourrecords.com
Phil Suggitt
THE RAILS
This is How she Goes (Rail; CD)
In the fifth song, 'How About' The Rails sing "How About We Play That Song Again?" The trouble is they already have done. This album is basically a series of variations on the same song. Guitarist Nick Andrews drowns every song in layers of mid-paced, sludgy, fuzzy neo-metal guitars, so that almost everything sounds the same. Vocalist and keyboard player Louise Andrews has a good voice, but she can't rescue the songs from their predictable, pedestrian arrangements.
The ten songs are all lyrically themed around the life of a rock'n'roll band, but the songs fail to sustain interest in the concept.
www.therails.ca
Phil Suggitt
MICHAEL RAULT & THE MIXED SIGNALS
Edmonton's Newest Hitmakers (CDR mini album)
Going by some of the disc's eight tunes, if there were such things as garage hits, then
there's several here. Opener 'My Disease' is as big and brash a garage screamer as ever you might hear. It succeeds in capturing the primo screaming 1966 garage sound perfectly, not least perhaps, because singer / songwriter Rault (judging by the cover photo) is pretty much of the age of those garage band wannabes of the mid '60s rather than a 30 or 40 something office exec with a state of the art equipped hobby band! There are two covers, the best of which is Don & Dewey's 'Justine' which is given a white boy garage treatment and spat out like so much overloaded testosterone looking for a destination! The rest are all originals. Another standout is 'Playing Tricks On Myself', a catchy garage pop number played with a 'Gloria' riff in part. Yet another cool original is 'Prisoner Of Your Love' that impressively merges power pop melody with a garage delivery. Rault and his cohorts produce a great basic garage sound which all garage heads worthy of the their salt should check out (see also their CDR single reviewed in the Feb/March reviews). They are clearly worthy of a label signing and deserve to have their songs more widely heard. Contact them for more details.
www.myspace.com/michaelrault
do_the_dog@hotmail.com
Paul Martin
SCOPE
A Secret Revolution (Beatball/Superstars; MiniCD)
The Embrooks may be no more, but Scope have emerged to carry on the Freakbeat tradition. My first impressions of this seven song CD were that the band were influenced
strongly by the early Who and Troggs, and then I found a sleeve insert in which the band admit to be 'deeply rooted in the 'pop art' soundstyle of the early Who and the minimalist hard-pop beat-riffin' of The Troggs'.
The self-penned title track is a fine opener with some good singing from drummer Erwan and neat guitar from Astro. Of the two covers, there is a fine version of The Fresh Windows' 'Fashion Conscious', which is just the kind of tune you would expect them to cover, but 'Action Woman' is a revelation. The 60's US garage classic is radically reinterpreted in the style of a '67 UK Freakbeat band; 'Pebbles' covered by 'Rubbles' no less!
Korean label Beatball really understand that people won't forsake CDs for downloads if they are presented with a really nice artefact. This CD comes in a cardboard sleeve even thicker than those US 60's LP covers, with an insert booklet and a pape inner sleeve with yet more groovy pictures. Sleeve designer Dirty Harry deserves a name check.
http://www.beatballrecords.com/
Phil Suggitt
SILVERLINING
Well Dressed Blues (Promo; CD)
The cuddly lady and long haired lad may bring pop stars The Magic Numbers to mind, but this American act sound far more like the Cali-influences the Numbers purport to have. This demo was recorded in a big studio and the production is pleasing. Although indebted to everyone from The Association through to Alice Cooper there's enough of the modern age about this cool harmony rock band to break through. For cats like us though, the songcraft and arrangements of the late '60s are very much in evidence. A little bit rockier than sunshine pop per se with some nice touches. I dig it.
www.myspace.com/silverlining
Jon 'Mojo' Mills
VARIOUS ARTISTS
Happy Man: A Tribute To The SunnyBoys (Off The Hip; CD)
This is a good example of that strange phenomenon, the tribute record. One of the best justifications for the tribute album is for a collection of modern bands to direct some of
their fans to the back catalogue of another good band or artist. I was first drawn to The Sunnyboys in the early '80s by the sharp spiky boots they sported on the cover of their first album. Led by young songwriter Jeremy Oxley, The Sunnyboys produced a string of catchy garage pop tunes which made them popular in Australia but only underground favourites elsewhere.
In the world of tribute albums, faithful reproductions of the original songs are fairly pointless. Radical reconstructions are also unwise. Changing the songs almost out of all recognition just annoys ardent fans – you might as well write a new song and collect the publishing. The 18 modern Australian bands here largely succeed in taking a fresh approach to the song covered without taking out its heart. For example, High Horse's version of 'I Can't TalkTo You' is almost a waltz. Melbourne's The Shimmys do a tough all-girl version of 'Catwalk' and experienced Australian popsters Jack & The Beanstalk and The Jennys offer attractive vocals on 'Tunnel Of My Love' and 'My Only Friend'. It is unreasonable to expect long time fans to prefer all the covers to the original Sunnyboys versions, but some of the best work here makes you appreciate that few songs are so frozen in time that new approaches can't add a different and satisfying perspective.
www.offthehip.com.au
Phil Suggitt
