TERRY ANDERSON AND THE OLYMPIC ASS KICKIN' TEAM
Terry Anderson And The Olympic Ass Kickin' Team (Doublenaught; CD)
     Decent roots rock with a nod in the direction of Nick Lowe and the British mid 70s pub rock scene in general all played with a contemporary US fat power pop/rock sheen… it's all likeable and there're some decent tunes. It's just too predictable and atypically American college to really inspire the ears of the SD roundtable.
www.olympicasskickinteam.com
Jon 'Mojo' Mills

THE BARRACUDAS
The Barracudas (NDN; CD)
     Everyone who loves music experiences special turning points that significantly change their lives. When musicians are interviewed, such moments tend to occur in childhood or early teens. In my case, it happened a bit later. To be specific, in the Sheffield summer of '76 the 'Shake Some Action' era Flamin' Groovies made me realise just how terrific live rock'n'roll music could be. About six years later, The Barracudas' Mean Time album gave a much-needed boost to my love of music, just at the time when most of my friends were losing their initial interest and 'growing up'. The true heirs of the Groovies, The Barracudas were always my favourite English garage beat and folk-rock band without exception.
     This is a great album, mostly because the songs and the production are at least as good as any previous 'Cudas album. Another reason why it is so fine is because it's such a bonus, a thing that most people would never have expected after the last incarnation of the band split up to general media indifference. As you get older, certain things are less and less likely to happen to you on a regular basis, whether it's playing the perfect game, backpacking to exotic places or having a fabulous fuck in the back of a car. This album is the aural equivalent of those experiences; a treat that you didn't think was going to come round again.
     The opening song, 'Poor White Trash' is classic Barracudas, based around a brooding folk-rock lament that Jeremy Gluck sings in his unique style. In the tradition of several great 'Cudas tunes, some proud and bitter loser admits his misdeeds but never quite gives up; "I had some good times/although my crimes will shock you/so don't try and judge me/I'm not ashamed of who I am". The band's lyrics have always covered anger, bitterness and frustration really well! Whilst Jeremy sings guitarists Robin Wills and Chris Wilson kick up a storm over the main riff. There is even a bonus version that is over six minutes long. If anything, it is even better, as it has more space to build to a climax, and has superb backing vocals. One note is either the longest sustained note in history or a good bit of studio splicing!
     The new rhythm section of Rob Coyne and Yan Quellien are a tremendous asset. They anchor the tunes perfectly and add backing vocals. Bassist Rob Coyne also contributes guitars, keyboards and a fine song, 'Something New', which fits right in. Ex-Groovie Chris Wilson is also right back on form. He contributes guitar, some terrific vocals and the driving 'The Mirror'. He also excels on 'Always On My Mind' where he also takes the lead vocal. The song is in the tradition of mournful ballads and savage songs of rejection penned by Wills and sung by Wilson, such as the brilliant 'When I'm gone'. Maybe the lyric "I tried to forget you, but you were always on my mind" actually refers to Robin's 12-string Rickenbacker?
     The songs are a triumph for Robin Wills, who was completely responsible for eight of the fifteen tracks, and co-wrote a further five with Jeremy Gluck. Some of the tunes, such as 'Price you Pay' and 'Not That Kind' have been around for several years, and finally get the production and treatment they deserve. This is guitar heaven. The guitars sparkle, chime and jangle all over the place. Wills weaves 6 and 12 string magic – he has the ability to craft memorable melodies with descending guitar figures that stop you in your tracks; one of the great English guitarists. The quality and variety of the song writing is apparent throughout, from garage rockers like 'What You Want Is What You Get' to jangly folk-rock ballads and anthemic pop, The Barracudas can do them all, do them like nobody else, and never sound like a tribute or a pastiche. They have all the right influences but they always transcend them.
     There is some new territory for the band, such as the atmospheric female backing vocals which enhance 'Take A Walk', and Robin's tribute to the glam era, 'Don't Ever Say It Can't Be So' which doesn't really move me, as it only evokes less than joyful memories of feather cuts, platform soles and Gary Glitter.
     Fittingly, the closing track, 'Don't Let that Feeling Go' is a slight return to the band's early surfing roots, with Jeremy singing in a sweet style he hasn't used since about 1980 and groovy massed surfin' "ba diddy" backing vocals.
     I once ate barracuda and chips in one of my favourite pubs. It still had its head on, and grinned evilly through rows of sharp teeth, to show who would have the last laugh. Buy this record. You won't hear a better one this year.
www.thebarracudas.net
Phil Suggitt

THE KARTOONS
Undelivered (Kartoons / Mania Records; CD)
     Italian veteran '60s pop stylists The Kartoons, are back with an eight-track CD album. The album has been co-produced with Mania Records (Cosenza, Italy) and partially funded by the band themselves. Kartoons vocalist Francesco Ficco has at first hearing a rather fragile voice that sounds like it might be drowned if the decibels got too high. However, it is soon apparent that the music has been honed to exactly the right mix to allow Ficco's voice to ethereally float across it. The songs are delicate and melodic contrivances, many of which are most immediately conceptualised as Byrds-a-like jingle-jangle as recorded by a South American popsike band of 1967-'68. This is not to say they don't have a contemporary vibe as so much good pop (see the International Pop Overthrow review elsewhere this month) is referenced to this kind of approach. Undelivered is a relatively short album at 28 minutes and you need a few listens to really get inside it, but it's a creation of beauty and charm, full of whispy, plaintive vocals, and tuneful rhythms and hooks. 'Upside Down' is one of the albums harder edged numbers and employs a tasteful backward guitar section that doesn't outstay its welcome or try to be more than it is. Similarly, 'Can't Get The World' has a simple but effective riff that marries a melodic pop sensibility to a rockier foundation. 'Smile For Your Life' is a poppy, lilting, lemonade sipping piece of sunshine pop that will make you ache for Summer's return. If you have heard The Kartoons' Introducing album, you will immediately notice the transition from the more frenetic garage pop of that album to the more mid paced and melodic maturity on Undelivered. What on the surface sounds pretty straightforward and uncomplicated pop pays repeated listening; I'm still discovering new things in the songs each time I play them. The CD was intended primarily to be sold at the bands gigs, but try emailing The Kartoons directly at kartoons2000@yahoo.com
Paul Martin

SMASHING TIME
Make Some Noise (Headache Machine; CD)
     The name of the band and the album title might give the casual browser the impression that this is grungy rawwk or punk, but nothing could be further from the truth. The 'smashing' in question is that quaint English description of a really good time, which is highly appropriate.
     Although the band clearly love Mod music in all its incarnations they're far from Jam impersonators and this CD succeeds because it is about classy guitar pop.
     A lot of thought and care has gone into making a varied and well-sequenced album, not just a collection of songs. The opener, 'Picking Up The Pieces', features Robin Wills' 12-string and has a big, joyful '60s pop sound, driving brass and a strong chorus. Similarly 'Substitute' isn't covered straight, but given an original and effective interpretation focused on the organ, brass and vocals rather than guitar.
     'Is it Her' is a great ballad with some of the best use of flute since 'California Dreaming'. Organist Paul Freeman does his stuff on the largely instrumental 'Shake Your Hips' and the excellent 'Thank The Lord For The Night Time', which is a real dance floor hipshaker. Elsewhere there are fine contributions from the Hornophonix brass section and harmonica player Bobby Guyman. The only song that doesn't really work is the ska pop 'Don't Try So Hard', which lacks a distinctive tune.
     Apparently 'Peggy' almost didn't make it onto the album, which is surprising, as for my money it's the best song among several by guitarist and main songwriter Jim Guynan. The busker's intro moves into a really fine harmonica – led tune, with a great lead vocal and chorus.
     Overall, the CD has a real 'feelgood' vibe that brings a big happy grin to my face – like all the best pop music should.
www.smashingtime.com
Phil Suggitt

VARIOUS ARTISTS
International Pop Overthrow Volume 8 (Not Lame; 3-CD set)
     Dave Bash stages the International Pop Overthrow (IPO) festival every year in the US and it has even reached the shores of dear old Blighty this year (in Liverpool). The IPO collections are made available through Not Lame mail order and over the years, the series has quickly grown from Volume 1's single disc, to double CD to triple CD sets to enable exposure for as many of the participating bands as possible. Volume 8 is another triple set that packs in 65 tracks by nearly as many bands. I have been hitting the repeat button on The Confusion's 'The Pilot' on disc 1 since I got this set. A beautiful, shiny melodic pop pleaser, it really catches the ear. It's almost impossible to pick out individual tracks for special mention beyond this however as all have their own strong appeal and there are so many very good ones. The styles encompass the pop spectrum from jingle-jangle (e.g. Smash Palace's 'Steal Her Thunder') to full on power pop (e.g. The Trend's 'She's Hi-Fi') and all points inbetween (e.g. Susan Hedges & The Other Kind's 'Guess I Got It Wrong Again' or The See Saw's 'All The Same'). There would be more to say about the high quality of the contents of this set than space allows. Suffice to say that if you dig good modern pop with great hooks and strong melodies (like the Ozzie Pop Boomerang series for instance), you won't go wrong with this set or any of the other seven volumes in the series so far, just let the sound wash over you and feel the music. Given these volumes are all budget priced, you should be scrambling to your computer keyboard and Not Lame's website right about….now! 
www.notlame.com
Paul Martin