Showing posts with label '90s. Show all posts
Showing posts with label '90s. Show all posts

Friday, October 28, 2022

Stars Like Ours - self titled


Out now on Rum Bar Records is the self-titled debut album from Stars Like Ours  — a CD compilation of three digital EPs released from 2015 to 2018. Hearing this release, I'm a little sad that I'm so late in discovering Stars Like Ours. But I've definitely been making up for lost time; this CD has been living in my car player for the past month! This album and this band take me back to those days in the early '90s when indie/alternative rock ruled. Remember a time when you could tune into a college radio station and hear Sugar, Superchunk, The Breeders, and Dinosaur Jr. in the same block? You could seamlessly slot any of these nine tracks into the same block. 

When the Stars Like Ours disc first arrived on my doorstep, I was excited by the band personnel. Michelle Paulhus (The Decals, The Dents, etc.) is on bass and lead vocals. Kristin Holliday (DRAGO, The Downhauls, etc.) is on guitar. Eric "Rice" Edmonston (Darkbuster, Abbie Barrett Band, etc.) is on drums. That's a powerhouse lineup, and I would have been happy to hear this trio tackle any genre of music. But Stars Like Ours really hits a sweet spot for me with its loud, hooky old school indie rock sound. They are doing their own version of a musical aesthetic that was my gateway to the underground three decades ago. Although the influences are obvious, the band manages to update them for modern times. In a completely unpretentious way, this band simply oozes cool. Holliday nails that crunching guitar sound, and Edmonston is an absolute monster on drums. There's also a rule in music that if Michelle Paulhus is writing and singing songs, those are tunes you need to own. In fact, this is as good of an album as she's ever put her name on. And, yes, I know that's saying something. Given that this disc was culled from three separate releases, it's not surprising that the song quality is so exceptional. I keep listening through to try and identify individual tracks that stand out, but every song sounds like a hit to my ears! And yet when you put all this material together, it still flows like a singular album (I didn't even realize it was a compilation until I'd heard it several times!). Without trying to relive the '90s, Stars Like Ours remind us why we loved that music so much. The songs, playing, production, and (of course) vocals are absolutely top-shelf.  

Stars Like Ours — a contemporary band reminiscent of a moment when Boston was the center of the indie rock universe — is the perfect addition to Rum Bar Records' growing stable of extraordinary hometown talent. If you like buzzing indie rock with a strong pop sensibility, you too may find yourself wondering where this band has been all your life!  

Sunday, December 19, 2021

The Dummies/Gargoyles - split 7"


I generally don't write about a release if I can't provide you all with clear information on how to purchase it. That's kind of the point of this blog, right? I write about music, and if you dig it you can click a link and go buy it. But I must make an exception for a new split 7" released by the legendary Swedish garage punk label Ken Rock Records. This single features "new vintage" early '90s cuts from The Dummies and Gargoyles. The Dummies (1990-96) were Pennsylvania's greatest garage punk band before their relocation to New York. They released music on some of the top punk rock labels of the day such as Get Hip, Bag of Hammers, and Empty Records. In Central Pennsylvania, they remain the stuff of legend. Gargoyles (1989-95) hailed from San Francisco and were at the forefront of the '90s revival of '77 punk rock and roll. They had several releases on the iconic Sympathy For The Record Industry. Lead singer Tim Storm went on to be in the very excellent Reclusives. Somehow Ken Rock has managed to unearth a pair of lost gems from both of these fabled bands. Seriously, these are both primo tunes! Gargoyles' "5 Million Years To Earth" could almost pass for an outtake from Raw Power. This is OG action rock! The Dummies' "Roundtop Rock" is a furious blast of trashed-out degenerate rock and roll that ranks up there with the band's most essential songs. The Cliff Mott cover art, set at the The Dummies' old home base in Lewisberry (a former gun shop), depicts a true life incident involving excessive drinking and an inflatable raft being set on fire. For the legal protection of everyone involved, I will say no more. Longtime fans will be delighted to hear this track. And if The Dummies were before your time, "Roundtop Rock" is as good of an introduction as any! Unfortunately, I do not possess any ordering information for this record at the moment. Ken Rock strangely has no Internet presence at all: no web site, no social media, and no web store. But if you should happen to encounter this split release while perusing a record store, you should definitely buy it! In the meantime, you can purchase The Dummies' one and only LP from the Get Hip Recordings Bandcamp. And be sure to like Gargoyles' Facebook page! Happy hunting, folks. Additional info will be provided as it becomes available! 

Friday, April 23, 2021

Various artists - 44 Golden Greats


Had Poppy Robbie not double-dog dared me to tackle the 44-track Mutant Pop Records tribute compiled by Grath Madden and Chadd Derkins, I might not have even bothered. I have presumed that anyone who would be interested in hearing a quadruple album Mutant Pop tribute has already purchased it. That's how passionate the fan base remains after all of these years. And so here we have 44 Golden Greats -- lovingly assembled by two of the most passionate of all of those fans. 

While a 44-track tribute album is a grand and ambitious project, anything less might have seemed unsatisfactory. We're talking about a label with over 100 releases! Mutant Pop was a label I steadfastly championed throughout my up-and-coming years in the record reviewing racket. 20-25 years later, it's fun to look back at particular MP releases and examine which ones I still really like and which ones I can't believe I ever liked in the first place! Today I rank The Kung Fu Monkeys as my #1 favorite Mutant Pop band by far --- followed by The Automatics and Ruth's Hat. I was excited to see all three bands well represented on 44 Golden Greats. But as a true fan of the label, I was also stoked that this tribute doesn't neglect lesser-known and overlooked players in the Mutant Pop story. This collection would have been far less cool without representation for the likes of Spodie, The Beldons, Dead Like Elvis, and The Hitchcocks. And holy smokes: there are two Buglite covers on this release! 

What I like about 44 Golden Greats is that the majority of the bands/artists went to the trouble to creatively interpret the original songs. Obviously we're all pop-punk fans here (otherwise you wouldn't have read this far!). But I doubt any of us wanted to hear 44 cover songs that sounded exactly like the original. Probably the most "faithful" cover that actually works here is Doc Hopper's ripping rendition of Boris the Sprinkler's "Drugs and Masturbation", and that's largely due to the track opening with Joe Keller's brilliant and truly hilarious spoof of a Rev. Norb monologue. You'd have to have a heart of stone to not be delighted by The Steinways' version of Dirt Bike Annie's "What's Happening, Hot Stuff?". But the real highlights for me are the versions that honor the originals by transforming them. It almost goes without saying that the Kung Fu Monkeys' interpretation of The Hissyfits' "In My Dreams" is beautiful and perfect and extraordinary in every way. Poppy Robbie gets points for covering one of the best Automatics songs ("No Big Deal") and making it sound like...a Poppy Robbie song! I was previously unfamiliar with Nicky Reynolds and his Pushers, but I love, love, love, love the band's take on After School Special's "Kelly Burkett"! Jeanie Lee's version of Egghead's "Donna's Always Mad At Me" is a royal treat for all of us who can never get enough of Jeanie Lee...or Egghead! Also really excellent are covers by Andrew Furtal (Dirt Bike Annie's "All Systems Go"), P.J. Sloan of Ruth's Hat (The Proms' "May I Cut In"), and Dr. Princess (The Wanna-Bes' "ATM"). And you've gotta love Skinny Genes (which is Azeem from The Steinways) doing a clever mashup of Moral Crux's "Firing Squad" and the Ramones' "She's the One"!  

Chances are that if you're a Mutant Pop Records fan, you don't need me to tell you that 44 Golden Greats is worth buying -- because you've already bought it! But if you haven't bought it yet, you certainly should. It's a wonderful reminder that a lot of incredible music was released on the Mutant Pop label. And you can feel the love that went into the creation of this project. Many of the artists appearing on this collection are Mutant Pop alumni paying tribute to other Mutant Pop artists. A few others represent the best of the generation of pop-punk that was directly inspired by Mutant Pop. And seriously: 44 tracks for five bucks is a deal and a steal! All proceeds from this digital release go to the Kentucky Association of Sexual Assault Programs.

Saturday, December 26, 2020

Trash Brats - self titled (30th anniversary vinyl reissue)

Detroit's legendary Trash Brats have been a huge part of my musical universe going back to my early days in the record-reviewing racket. Here was a band that was too punk for the glam rockers, too glam for the punks, and probably too pop for either! If nowadays "glam-punk" is a thing, that's largely because the Trash Brats and a few like-minded bands made it a thing through years of exciting live performances and stellar releases that attracted devoted fans the old-fashioned way. It all started 30 years ago with the release of the Trash Brats' self titled debut album. This would be the first of four proper albums released by the Trash Brats. It was originally released on cassette but had never come out on vinyl until earlier this month. The 30th anniversary vinyl reissue of Trash Brats is the first release on Jim Rinn's I-94 Recordings in nearly 20 years! The bubblegum pink vinyl sold out in 24 hours, and the fancy wax mage art vinyl sold out in a few days (I wasn't joking about the fans being devoted!). The album is still available on 180-gram black vinyl and well worth owning whether you're a longtime Trash Brats fan or just discovering the band for the first time. It's also available from the streaming sites if you just want to hear the songs again. Featuring fan favorite cuts like "Don't Wanna Dance", "Bubblegum Girl", "3873 Marlborough Street", "Gas Boy", and "S-M-U-T", this remains the definitive Trash Brats release. Grab a copy while you can!

Saturday, August 01, 2020

The Prostitutes - Complete Recordings 1995​-​1998

Here's today's public service announcement: the complete recordings of the original Prostitutes lineup have been remastered and reissued for your listening pleasure. And this digital collection is a name-your-price download from Bandcamp! I've written about these recordings so many times that there isn't much more that I can say. If you asked me to name the greatest American punk rock band of this particular era (1995-98), The Prostitutes would be at least in the conversation if not my #1 answer.

Amazingly, Kevin McGovern has revived The Prostitutes numerous times in numerous locations with numerous lineups. But there will always be something special about the original incarnation based out of nearby (to me) Harrisburg, Pennsylvania. This lineup featuring McGovern on lead vocals, Dave Cohen on bass, Justin Haley on guitar, Brian Shuey on guitar, and Jeff Peterson on drums released three incredible singles and a classic LP in a period of just a couple of years. And then just like that, the band broke up (much to my disappointment at the time). As the title suggests, Complete Recordings includes everything The Prostitutes released in the '90s: the "Get Me Sick" debut 7" on Pelado Records, the "Twenty-Two" 7", on Philly label Black Hole Records, the "Living Wreck" 7" on the legendary American Punk Records, two tracks from the Pelado CD compilation This Is It... Punk Rock That's Real, and the entirety of  the band's 1997 LP Can't Teach Kids Responsibility. I once likened The Prostitutes to a combination of The Pagans, Jabbers, Stitches, and Humpers. That's a description I'll still stand behind (maybe I would throw The Germs in there as well). As I listen now, I'm struck by how well these songs hold up. Among these 25 tracks, there are so many songs that are classics in my book. This is the authentic sound of bored, drug-addled youth railing against Central Pennsylvanian conservatism in the later '90s. These wild, angry, and darkly humorous songs were part of the soundtrack to my 20s. They sound just as good today to my middle-aged ears. Now you too can enjoy timeless punk anthems like "Twenty-Two", "Get Me Sick", and "No Good" in all their degenerate glory. It's almost criminal that you can download this anthology for free!



-L.R.

https://theprostitutes1.bandcamp.com/album/complete-recordings-1995-1998-remastered
https://www.facebook.com/tutespunk
https://www.instagram.com/tutespunk/

Tuesday, May 26, 2020

Moral Crux - The digital reissues!


Oh my god! Moral Crux has a Bandcamp?! I've been waiting for years for the Moral Crux catalog to make it to this particular platform - especially those earlier titles that have been out of print for a very long time. This is a very important band in my musical life. Back in the '90s, Moral Crux was my bridge from poppier punk stuff to the '77-style punk that would ultimately become my favorite music of all-time. And I guarantee that a lot of people who came up on pop-punk around the time I did have a similar story. Moral Crux is often associated with '90s pop-punk, and they even did a 7" with Mutant Pop Records. But they actually started in the early '80s, and to me they always had more of a pure '77 sound. James Farris and company took the melody-based punk style of the Ramones, Buzzcocks, and Generation X and combined it with the heart and mind of The Clash. For over 35 years, James has used this band as a platform to rail against injustice, abuses of power, and the dumbing down of American culture. Eventually Moral Crux got signed to Panic Button/Lookout! Records and released the excellent albums Something More Dangerous and Pop Culture Assassins. The titles now available on Bandcamp are earlier, much rawer-sounding releases and probably my three favorite Moral Crux albums. The self-titled album from 1987 is a total classic. ...And Nothing But The Truth (1993) and I Was A Teenage Teenager (1994) have been criminally overlooked for decades. I am stoked that these albums have been remastered and revived for our listening pleasure! Who ever said that political punk rock can't be catchy? If you like what you hear, be sure to also check out Moral Crux's most recent EP on Mooster Records! 



-L.R.

https://moralcrux.bandcamp.com/
https://www.facebook.com/moralcruxofficial/

Sunday, April 26, 2020

Know Your '90s Punk: The Stitches


For a long time I've toyed with the idea of doing a book on all of the punk bands I loved in the 1990s. While there was all kinds of great punk music being made in the '90s, I personally gravitated to the more '77-inspired bands of that period. I began touting those bands, and here we all are 25 years later! While I may never actually write my book, a cooler project would be to feature a lot of those bands here - where I can embed some of the actual music. For my "F & L Hall of Fame" series, I've already written about a lot of those groups such as the Dimestore Haloes, Moral Crux, and Dead End Cruisers. So now that I have a little extra time on my hands, I would like to go further with this project. And when it comes to bands of the '90s that sounded like '70s punk, you can't talk too long without bringing up The Stitches. They may have been the best out of that whole lot!

It's kind of weird to be referring to The Stitches in the past tense since they are still an active band. But my focus here is on the band's incredible run of releases from 1994 through 1997. The group's debut 7" "Sixteen" came out in '94 and in my book is one of the greatest punk singles ever released. It was as if the Sex Pistols, Pagans, Dead Boys, and countless Killed By Death favorites had coalesced into one wild and explosive band. The energy, power, and guts just bled out of your turntable speakers! In a single moment, Michael Lohrman and Johnny Witmer emerged as a vocal/guitar tandem of legendary proportion. "Sixteen" arrived at a time when nothing that sounded quite like it had been heard in years, and it inspired the growth of "snotty punk rock" as a genre onto itself in the later '90s and beyond. Six more singles and EPs followed over the next several years, and many of us can recall a time when the arrival of a new Stitches record was always an event (remember how they dominated those Maximumrocknroll top ten lists?!).

While The Stitches never released a proper album until 2002 (at a point when their sound had evolved considerably), their 8 x 12 EP from 1995 is a bona fide classic and still well worth seeking out. I have assembled a YouTube playlist that compiles most of the band's early output. It's basically a '90s Stitches singles collection plus all of 8 x 12. Listening to all of these song comped together definitely brings back memories of a time when my musical education in punk rock was really just beginning. At the same time, I can say that these recordings still hold up after a quarter of a century. If I ever compile my ultimate compilation of '90s punk rock, "Sixteen" will be track one for sure. Listen and love!




-L.R.

https://www.youtube.com/playlist?list=PLqH36mfe77ObVUaX8GLUaXdd-oRtbRvZB
https://www.facebook.com/thestitches/
https://www.discogs.com/artist/759397-The-Stitches

Saturday, June 08, 2019

The Candy Snatchers - Moronic Pleasures

Lately I've been feeling the urge to revisit The Candy Snatchers. It's not that I think the band was at all overlooked back in its late '90s/early 2000s heyday. It's just that so much of what we made of Larry May and company always came down to how wild, chaotic, and flat-out incredible their live performances were. But even if you set the Snatchers' stage show aside and just focused on their studio releases, I'd say they ought to be remembered for producing some of greatest garage punk rock n' roll music ever committed to record. Their self-titled debut album from 1996 is an absolute classic of sleazy and destructive punk rock n' roll. Compared to a lot of similar albums of its time, I think it holds up far better. I can put it on today, and my immediate response is still "Holy shit!". This may have been as close as the '90s got to recreating Iggy and the Stooges - with echoes of the Dead Boys, Misfits, and New York Dolls thrown in for good measure. Subsequently, The Candy Snatchers went to Compactor Studio in Brooklyn in 1997 and tracked what was arguably an even better second LP. It was to be called Moronic Pleasures. And for reasons I still cannot fathom, these recordings were rejected. After a second failed attempt to make this album, the band re-recorded many of the same songs in New York with Dean Rispler in 1998. This became the second Candy Snatchers LP, Human Zoo. Human Zoo is a beast of a record in its own right, but it never sat right with Snatchers super-fan Jake Starr that Moronic Pleasures had gone unheard all of those years. He took upon the task of rescuing this unheard Candy Snatchers album, which he released digitally on his label Fandango two years ago. And now thanks to Hound Gawd! Records, Moronic Pleasures has finally been released on LP. If it hasn't crossed your mind to buy a Candy Snatchers record in a couple decades, this sure is the one to get!

Jake Starr sums it up perfectly: "Don't get me wrong. Human Zoo rocks like a motherfucker. But Moronic Pleasures as recorded at Compactor Studio is the Candy Snatchers at their zenith." If I were trying to explain the greatness of The Candy Snatchers to someone, I would just play them Moronic Pleasures. The band has never sounded rawer, wilder, or meaner than it does here. Larry May sounds like a freak of nature on lead vocals - wailing away as if he's starring in some sort of psychotic opera. The guitar work from Matthew Odietus (RIP) is straight out of the Johnny Thunders and James Williamson playbooks. And with then-new drummer Sergio Ponce pounding the kit, the "classic" era Candy Snatchers sound is in full force. 11 of the 19 songs captured here were re-recorded for Human Zoo, but by no means does that make the purchase of this album unnecessary. Signature tracks like "No Time To Waste", "Burn It To The Ground", and "Pissed Off, Ripped Off, Screwed" burn even hotter in their original form. And then there are eight more songs here that did not appear on Human Zoo. Fans will surely recognize songs like "Run You Down", "Ass Casserole", and the Stooges cover "Fresh Rag" from later Snatchers releases. They fit in perfectly here - creating a 19-track scorcher of an album that is your definitive Candy Snatchers long player.

Jake Starr knew what he was doing when he brought Moronic Pleasures back from the dead. And he did it right - securing the original masters from the Compactor sessions and enlisting Dennis Kane to mix and master the album. The "lost" classic second album from The Candy Snatchers is no longer mere legend or rumor. Thanks to Oliver at Hound Gawd!, it's an actual vinyl record that you can order today and soon play on your turntable. This record proves that no conversation of the greatest garage-punk rock n' roll bands of the '90s can exclude The Candy Snatchers. And with the band back and playing live shows with a new lineup featuring Johnny Yeagher on guitar and Doug "Goose" Duncan on bass, let's be sure not to limit The Candy Snatchers to the past tense!



-L.R.

https://www.houndgawd.com/shop/en/SHOP/Vinyl/The-Candy-Snatchers-Moronic-Pleasures.html 
https://www.facebook.com/thecandysnatchers/ 
https://www.facebook.com/HoundGawdRecords/ 
https://fandangorecords.bandcamp.com/album/the-candy-snatchers-moronic-pleasures-the-lost-album-fr-040 
 

Thursday, April 18, 2019

The Prissteens - Almost 24

What's this, another Prissteens collection from Girlsville? Well kind of. Almost 24 is essentially a re-vamped version of 2016's long out-of-print Demos and Rarities cassette - with the live cuts and 7" tracks replaced by additional demos covering the years 1996-99. If you missed out on Demos and Rarities, Almost 24 retains the most intriguing aspect of that collection: the nine tracks The Prissteens demoed in 1999 in preparation for their second album. That album was never made, but Lori Lindsay and Leslie Day reemerged a few years later with their new band Purple Wizard. Songs like "If You Really Loved Me" and "Sugarboy" bridge the gap between both bands and suggest that a second Prissteens album would likely have sounded quite different from the first. Minus the live cuts and studio tracks, Almost 24 has a nice flow to it. This is the most inclusive collection of Prissteens demos ever assembled, with songs representing the full span of the band's career. And even if you already own both volumes of Demos and Rarities,  you will definitely want to shell out a buck for a download of the previously unreleased "Don't Think About You". I wondered after the release of Demos and Rarities Volume 2 if there could possibly be any more "A"-list Prissteens demos lying around. Apparently there was at least one! "Don't Think About You" is what I like to think of as the "true" Prissteens sound - raw garage rock inspired by '60s pop and girl groups. If you're a Prissteens super-fan, "Don't Think About You" is a must-own track. And come on: you'll want to own the cassette since it's just so freaking cool! For those of you who still own nothing by The Prissteens, I'd probably say start with the Demos and Rarities Volume 2 download and work your way out from there. Either way, we are talking about one of the greatest rock and roll bands to come out of New York City (or anywhere else, for that matter!) in the '90s. I will always jump on any opportunity to write about The Prissteens!



-L.R.

https://girlsville.bandcamp.com/album/the-prissteens-almost-24 
https://www.facebook.com/GirlsvilleRecords 

Sunday, October 14, 2018

The Safes - A Tribute To Juliana Hatfield

So this really happened! The Safes, one of my favorite bands, went into the studio with the rhythm section from Material freaking Issue (one of my three favorite bands EVER)! And the producer was Steve Albini?! Holy smokes! Even if I did not enjoy the music of Juliana Hatfield, I would have been super stoked about this record! But let's not bury the lede here. What stands out the most to me about A Tribute To Juliana Hatfield is that these are such great songs! Ultimately the whole point of a successful tribute project is to honor the source material, and this one does that brilliantly.

When presented with the opportunity to record this single for American Laundromat Records, the brothers O'Malley jumped at the chance. They are huge fans of Juliana Hatfield and the label as well. The involvement of Ted Ansani, Mike Zelenko, and Albini was just a (really cool) bonus! For this project, they chose to cover "Universal Heart-Beat" from 1995's Only Everything and "I See You" from 1992's Hey Babe. I appreciate that The Safes managed to put their own signature on these songs while still remaining largely faithful to the original versions. "Universal Heart-Beat" is a bona fide alt-rock classic, and The Safes don't mess with it too much. I like the cool, Lou Reed-ish vocals, but otherwise the original style of the song is followed to a T. There's just no point in playing around with that chorus - one of the catchiest and most memorable of its time. And I love that little sprinkling of Wurlitzer. In preparation for this review, I went back and listened to the original several times. What really strikes me is how well it holds up after 23 years and just how underrated Juliana Hatfield is as a songwriter. "I See You" goes back even further to Hatfield's first solo album. I would say it's a hidden gem of her catalog. But being huge fans, The Safes were well aware of that! Again they follow the general melody and structure of the original, but they really do put a Safes stamp on the song. The original sounds so innocent and bubbly, whereas the O'Malleys give it a more mature and modern reading. If you didn't already know this was a Juliana Hatfield song, you could easily believe this was something The Safes wrote themselves. And of course after multiple listens to both versions this week, what really sticks with me is what an earworm that melody is! If you didn't know it already, know it now: Juliana Hatfield writes damn good pop songs!

A Tribute To Juliana Hatfield is available only on vinyl from American Laundromat Records, and it's limited to just 500 copies. Given that these are songs from twenty-some years ago, this might be an opportunity for a whole new generation to discover Hatfield's back catalog. And certainly some of Hatfield's fans might end up coming to love The Safes - in my opinion one of the greatest American rock n' roll bands going. Hatfield herself was thrilled with these two tracks, and no doubt she sensed the tremendous affection the O'Malleys have for the original versions. This whole project is all about a genuine love for music, and that's something I can always get behind. Did I get goosebumps hearing those drums and bass? You betcha!



-L.R.

https://www.alr-music.com/products/the-safes-a-tribute-to-juliana-hatfield-seven-inch 
https://www.facebook.com/thesafesmusic/ 
https://www.facebook.com/americanlaundromatrecords/ 

Monday, January 22, 2018

The Hormones - Legendary Junk (1994-2017)

I recently received a nice note from Owen from Dirtyflair Record Company in Australia. He thought I might like a few of his label's releases and sent me a Bandcamp link to check them out. I went ahead and explored the Bandcamp page. Sure enough, I took an immediate liking to this label and the music it has released. The first thing I noticed (quickly!) was that Dirtyflair's catalog includes a compilation album of songs by The Hormones, one of my favorite bands from back in the '90s. I knew of the existence of this collection, but I had no idea it was available in a digital format. I'm thrilled to finally be able to share a couple of these tracks on F & L! When I talk about how 1995 was my 1977, The Hormones are one of the bands I'm referring to. They led a resurgence of Clash/Sex Pistols/Johnny Thunders inspired punk rock in the mid '90s that was hugely influential on my life and writings. Legendary Junk (1994-2017) collects the songs from the band's classic singles along with some comp cuts, unreleased demos from 1997, and a new live version of signature song "Sell Out Young". Altogether, this comprises the first-ever Hormones full-length! It's available from Dirtyflair on LP and CD, which both include a zine penned by Tim Stegall chronicling the history of The Hormones.

In addition to the release of Legendary Junk, The Hormones are poised for their first release of new music since the '90s. The band, which reformed in 2013 after a 15-year hiatus, has set up a Go Fund Me page for anyone with an interest in investing in this project. The new record, called Sing, will be released as a six-song 12". The band will be working again with Dirtyflair on the release of this EP. You can even order Legendary Junk directly from the Go Fund Me page - which will help the band get Sing made!

Some of you will be well acquainted with The Hormones. Others may have never heard the band before. Either way, I highly recommend Legendary Junk to anyone who loves '77 style punk. I'll have lots more to say about Dirtyflair Record Company in the near future, so stay tuned!



-L.R.

https://www.gofundme.com/help-the-hormones-make-a-record 
https://dirtyflairrecordcompany.bandcamp.com/ 
https://www.facebook.com/selloutyoung/ 
https://www.facebook.com/dirtyflairrecordcompany/ 

Thursday, August 17, 2017

Retro Reviews: Los Primos/Andy G & The Roller Kings- recorded output

Review by Rob Sheley

I would like to do this as a 2-fer. It makes the most sense because it covers all of Andy G's post-Devil Dogs recorded output. Sadly there is a limited but very essential amount of material; it is also listened to with a hint of what might have been.

We will start with Los Primos - of which there only are five songs. Los Primos was basically the Devil Dogs without Steve Baise. Sonically they were a continuation of what the band was doing around the ...Stereodrive! record. The prominence of saxophone as the lead instrument is what differentiates the two bands. Andy was moving towards almost a Little Richard type sound (without piano) mixed with the run-off-the-rails fury of the Devil Dogs. Think the immediacy of Saturday Night Fever with a lead sax, and you have Los Primos. While Steve Baise was in Norway working on the Vikings record, Andy was creating this project with Mighty Joe Vincent on drums, Candy Del Mar (Cramps) on bass, and Pete Linzell (Raunch Hands) on sax .

Crypt & Sympathy For The Record Industry both stepped up to the plate when Andy came around with his new project. In 1995 Crypt released Los Primos' "On My Floor" 7", which was Andy's 1st post-Devil Dogs recordings. The A-side is "On My Floor", a trashy, two-minute, rollicking, scorching original. The B-side is a clean, jangly cover of Manfred Mann's "Pretty Flamingo". One year later in 1996, the band released its second and final single on Sympathy. It follows the same format as the first: original A-side, cover on the B-side. This one may up the ante because the B-side is even better than the first. "Summertime Girls" follows the same trashy, sax-filled, adrenalized sleaze that you would expect from Andy G. The B-side is the Beatles' "Hard Day's Night". As a music fan, garage fan, Beatles fan, or Devil Dogs fan, get the single just for that. Wailing sax and a wall of NY sound create one of the best Beatles covers ever recorded, completely essential. In late(r) 1996, a compilation CD was released celebrating the famous NYC rock club Brownies. The disc features The Waldos, Turbo A.C.s, and Pillbox. The lost Los Primos track "Here She Comes" is included on the comp. With that release, the band was finished. Joe Vincent left to form The Prissteens, and Andy reloaded for his next phase.

With the end or demise of Los Primos, Andy kept the core of Los Primos: himself on guitar & vox, Candy on bass, and Pete on tenor sax. He added a baritone sax player named Steve Greenfield who previously worked with The Fleshtones. The exit of Joe Vincent opened the door for drummer Ron Salvo, and Andy G & The Roller Kings are born. Debuting four years later on March 25th, 2000 at NYC's famous Continental Club, the band would once again tap Long Gone John from Sympathy to do its first release. That Kings County Sound was released as a CDEP & 10" in 2001. Five songs (three new originals, one re-record, one cover), and the Roller Kings hit the ground running. Expanding on the Los Primos sax driven garage trash, The Roller Kings sound is bigger and more refined (but only slightly). It is still trashy with a '60s New York Dolls flair, what you'd expect from Andy. The addition of the baritone sax adds some bottom end that helps the overall sound. "Dance Last Night", "Feelin' So Good", and "My GTO" are the three originals you'd hope for from the mind of Andy G. "Summertime Girls" from the second Los Primos 7" is the re-record. There was nothing wrong with the original version. I would rather have any other song, be it an original or cover. There was no need to re-cut this track. The EP closes with a cover of Dusty Springfield's "Stay Awhile". It is not the first time Andy dipped into the '60s girl group cannon. The Devil Dogs covered The Ronettes' "Best Part Of Breaking Up" on their first record to similar success.

The band toured a bit outside of NYC shortly after the release, so very few people saw this incredible band slay audiences in the same way the Devil Dogs did. The band was relatively silent as far as releases go. It reemerged in 2005 on a Gun Club compilation called Salvo Of 24 Gunshots. The track the band chose to cover was "Bad India". The rest of the comp includes Dirtbombs, Come Ons, Demolition Doll Rods, and plenty of other good stuff. Later in 2005, the band released its final track called "Party Shoes" on the Rapid Pulse Records compilation Let's Have Some God Damn Fun! Just like that, the band was done. Nothing has been re-released since, and nothing has surfaced. It is a total shame.

As an epilogue to this story, Andy G & The Roller Kings did do a live session for WFMU on June 7, 2001. It is archived on the WFMU site under the show Three Chord Monte. They did an interview and played live on the radio. The live performance does include two songs not available anywhere else: "No Good Annie" (1910 Fruit Gum Company) and "Dead End Street" (Lou Rawls). Both songs are perfect choices to cover: sax driven songs easily adapted to Andy G's unique interpretation.

Between both bands, it is only 14 songs counting the WFMU live stuff and 12 if you don't. It is the great mystery on what happened, especially since the band was together at least five years. I would have to think with that amount of time together, there is an album's worth of material or a few singles that got recorded but couldn't find a home due to the band breaking up, not wanting to tour to promote them, or the changing of the industry in the mid-2000s. If there is something that exists, I hope that it comes out sooner rather than later. Andy G is one of the few artists that there are no bad songs that have his imprint on them. He really is that good and that important to garage music and music in general. His style has spawned countless bands, some better than others but none better than the original. God Bless Andy G.



-Rob Sheley

Wednesday, August 09, 2017

Retro Reviews: The Vikings – Go Berserk

Review by Rob Sheley

For my opinion, there is a big five of '90s garage rock & roll. Everything these five bands did and what they morphed into is necessary in every collection. They are The Devil Dogs, New Bomb Turks, The Humpers, Lazy Cowgirls, and The Dirtbombs. No five more perfect bands from that era have existed in similar friendly competition, each release more essential than the last. I will eventually focus on them. But as you know, all good things must come to an end. So I'm interested in focusing on their next big things.

Enter The Vikings, originally conceived as a two single side project that morphed into a more complete (albeit short) project with some of Norway's finest. When the Devil Dogs toured Norway in 1991, bass player Steve Baise met Morten Henriksen of the Yum Yums. Morten convinced Steve to come over and do some shows as a pickup band called the Devil Frogs. The band would do Devil Dogs songs and some choice covers. By 1993 Steve made a return trip, and Morten recruited two new members to the band to do five shows and record four songs. Those members were Happy Tom (Thomas Seltzer) on drums and an 18-year-old second guitar player named Euroboy (Knute Schreiner) - who of course went on to join Turbonegro a few years later. They cut the singles (one original & three covers) for two separate releases on Sympathy and Screaming Apple and changed their name to The Vikings. Released in 1994 to great reviews, the Vikings' "Rock All" & "Savage" singles were perhaps the warning signs that may have ended the Devil Dogs. By early 1995, the Devil Dogs had called it a day. Steve had eight songs (that would have been the next Devil Dogs record) and a budding relationship with a girl and new band in Norway. He took his songs and a bag full of covers to record what would become The Vikings' lone album Go Berserk.

Go Berserk is a flawless album. It is everything that is great about garage rock in general. A great formula to make a killer record is a balance of strong originals and a few covers (famous or obscure) peppered in. The trick is to interpret the covers in your style so that no matter how iconic the song, it becomes yours. Look at the early Stones, Beatles, Little Richard, Jerry Lee, Elvis (both of them), The Sonics, and Otis Redding. All were great writers and great interpreters. The Vikings followed that similar path of blending influences with originals; it gives you as a listener a spyglass look into the band's record collection and how they craft their songs and their sound. I'm a big fan of covers and how bands choose those covers, how they change or play them straight and how well they fit. As a side note, The Dirtbombs' Ultraglide In Black exemplifies this point. But that is another entry altogether.

Released in 1995, Go Berserk was a monster of record. The power of the band jumps off the record with the first track, "My Friend’s Little Sister". Clocking in at two minutes, it is the best song that the Devil Dogs never recorded. Big drums, crisp cutting distortion, and immediate vocals propel the record forward at a very live aggressive pace. Similar to the way the Devil Dogs made records, but this is different and not a copy of what they did. In hindsight, you can hear the power pop leanings of the Yum Yums and the best parts of what made Turbonegro great coming through in the performances - making this a unique entity unto itself. "Bad To Be Good", "Hard Knox High", "Strikeout King", "Summer of Hate", "Stop It", "(5-4-3-2) Baby You're The 1", and the debut single "Rock All" are everything that one would expect from Steve Baise as a songwriter. Catchy, fast, and big hooks that get stuck in your head. It takes great skill to write songs this good and this consistent.

The other story on this record is what is brought to the table by way of covers. None of the covers are big hits (with the exception of "Surrender" by Cheap Trick). I would say that they are more unique rather than completely obscure. An astute collector would know most if not all of the bands but not necessarily the song choices by those bands. "It's Cool To Rock" by the Accelerators is the one cover that could be mistaken for an original because they stay rather faithful to the original. There was no need to improve upon the original; it is just that good. "Let's Go" by Bay City Rollers is a WTF moment, but it works perfectly, played at triple speed of the original. It takes on a very Slade-like feel and removes all of the schmaltz you may be thinking it would contain. The back to back of "The Fly" by Chubby Checker and "Push & Stomp" by Joan Jett are rollicking versions of the originals, a double paring of songs about dancing that is a very nice touch. The record closes with a triple threat of goodness: "Surrender" followed by the Nervous Eaters' "Just Head" and closing with "Savage", one of the four lone songs by Australia's Fun Things. The opening verse says everything you need to know. "I am the rock & roll kamikaze, and you know that I'd die for you. When you're paying your bills to see me, I gotta do what you want me to." Pure rock & roll poetry and a perfect ending!

Go Berserk was released in 1995 on Sympathy on CD. The CD includes both the "Rock All" (also on Sympathy) and "Savage" (originally on Screaming Apple) singles. The record was released a year later on vinyl by Roto records out of Spain. In 2005, Just Add Water Records re-released Go Berserk as a double CD called Best Head Ever. It includes everything from the Sympathy release and four more songs from a 7" called High Time on Hit Me! out of Norway. It includes a very early version of "Good Head" - later made famous by Turbonegro. The two-CD set also includes a 12-song live record from Oslo. To the best of my knowledge, that is everything they recorded.

Though short lived, The Vikings are a crucial sign post of '90s garage rock. Even if the members never recorded another note, this still would rank as a masterpiece. It is surprising that more bands from both the states and Scandinavia didn't pick this up as a copycat project and do something similar in terms of sound and the blend of covers and originals. I implore you to track this down and make it one of your favorites; I assure you that you will not be disappointed in the least. You will only wish you could have discovered it to sooner to have the pleasure of enjoying it longer.



-Rob Sheley

Monday, July 24, 2017

Retro Reviews: The Lillingtons - Death By Television

Review By Mick Fletcher

I was born in '64 in a northern English city and grew up listening to whatever chart fodder the radio deemed fit to play. This was back in the days before the internet provided easy access to music - even the UK music papers like Sounds, Melody Maker, and The New Musical Express still used quills on parchment. Then at age 13, I was introduced to a new type of music by one of the real cool kids in my class at school and my tastes changed overnight. For many years after that, if anyone was to ask me what my favourite album was, I'd either say The Clash's debut (or London Calling) or Stiff Little Fingers' Inflammable Material. Those seminal LPs are still pretty much perfect. But nowadays when I get asked that question, the answer is gonna be the album I'm reviewing today.

The Lillingtons are a pop punk band (as in proper old school pop punk, not the anodyne type that's so popular at the moment) from Newcastle, Wyoming who formed in 1995 and who despite long periods of inactivity are still around today (watch out for a new album later this year!!!). They released a debut album on Clearview Records in 1996 called Shit Out Of Luck. But it wasn't until three years later that they unleashed their piece de resistance, Death By Television. Produced by Mass Giorgini, it was released on March 30th, 1999 on the Ben Weasel/John Jughead owned Panic Button Records (Fat Wreck Chords wanted to release it but have had to wait almost 20 years to add The Lillingtons to their roster of acts. Fat Mike has said Death By Television is the best pop punk record of all time, and I ain't gonna argue with him). The lineup of the band has undergone several changes down the years, but on this album it featured ever present vocalist/guitarist Kody Templeman as well as bassist Cory Laurence and drummer Timmy V (Tim O'Hara).

The Lillingtons are often compared to the likes of The Ramones, Queers, and Screeching Weasel. But on Death By Television, they blow all their peers out of the water. The album is comprised of 14 (mostly) sci-fi themed classics. Cast your mind back to outlandish Saturday morning kids' TV shows, EC comics, '50s B movies...Think back to when you were a kid growing up desperately wanting the x ray spex that you saw advertised in your favourite comics ("lots of laughs and fun at parties"). Run and hide as the saucermen attack at lightning pace. Look up at the moon- there's an apeman up there having a bad day. There are so many fun things on there: aliens in flying silver discs that want to see us die, a crimefighting maggot that aspires to be a fly, plus songs about wanting to bang your head against the wall and the everyday horrors of a dead end job. It's not just the lyrical content that makes Death By Television so great. Lyrics would be nothing without a great backbeat, and the music on the album is pretty much perfect. Granted it doesn't deviate much from your typical Ramones-core low slung bass/guitar/drum template, but that's the beauty of it. It's simple, basic, and oh so effective. So many bands play this kind of music, but none do it as well as The Lillingtons.

Death By Television is just FUN FUN FUN. To paraphrase one of the songs, when I get up, you know I'm going to spend another 30 minutes with you. It never gets old; it never fails to thrill. The new album will be great. Whether it will come close to their masterpiece...that's virtually an impossible task, but fingers crossed!



-Mick Fletcher 

https://www.facebook.com/TheLillingtons/
https://thelillingtons.bandcamp.com/

Friday, July 21, 2017

Retro Reviews: Izzy Stradlin & the Ju Ju Hounds – self titled

Review by Rob Sheley

November 1991: it is announced that Izzy Stradlin has left Guns N Roses. No one could have predicted what would happen next. Izzy has been called the heart and soul of the band that he helped form. It is no doubt that he was the Stones, Hanoi, Faces element that blended with Slash's love of Aerosmith and Duff's Damned & Heartbreakers leanings to create that unique sound. Upon his departure, what would they sound like and more importantly what would HE sound like? He was 29, finally clean, and rich enough to either retire comfortably or do whatever he wanted. He chose the latter.

Izzy Stradlin and the Ju Ju Hounds stands up as one of the best debut records in rock history, but it is not the players' first rodeo. Izzy recruited a brilliant band with a murderers' row of side men to assist. He ran as far away from Guns' direction as he could. Izzy's longest musical sidekick is Georgia Satellites guitarist Rick Richards - he has played on every single solo recording that he has released. Along with drummer Charlie Quintana (Plugz, Cruzados, and later Social Distortion) and bassist Jimmy Ashhurst (Broken Homes), that became the lineup. Sonically Izzy was to draw primarily from his love for The Rolling Stones, Faces, and The Clash- much more of the roll than rock and far removed from anything he had done before. Izzy Stradlin & The Ju Ju Hounds was released in October 1992, less than one year after his leaving the Illusion tour. The record is a combination of originals and influences. From the opening swagger of "Somebody Knocking" to the Clash informed cover of "Pressure Drop", the record is bursting with energy and uniqueness for the time. Supporting the band on seven of the 12 songs was Faces organ player, the great Ian McLagan. His contributions really aligned him as the unsung fifth member of the band. Special guest number two is Ron Wood performing on their cover of his solo track "Take A look A The Guy". Rounding out this star-studded list is Nicky Hopkins's incredible piano work on "Come On Now Inside"- a track that could have easily been an outtake from side 4 of Exile On Main St. It is really that good.

One must remember that in 1992, the musical landscape, despite Izzy's cache, was not ready to support a rock & roll record influenced by songs and bands from 20 years prior to its release. Even though the Black Crowes were enjoying success with their second record, I believe the public and the label were expecting and hoping for something closer to Appetite than Exile. Lead single "Shuffle It All" did catch a slight bit of MTV airplay, but the blazing rocker "Train Tracks" much less so. Despite a lack of commercial success, the band did tour the world with wider success coming from Europe and Japan. America was not so supportive. And due to this disappointment, Izzy stopped touring altogether to focus solely on recording.

Because of drug issues with Jimmy Ashhurst, the band was dissolved - with Izzy only keeping Rick along for the future. The record (and subsequent singles and live EP) is an all too brief snapshot. Their recorded output as this unit is incredible, no bad songs at all. The live Japanese EP is a much more stripped-down, raw, powerful version of the band. It contains a great version of the Stones' B-side "Jivin' Sister Fanny". And with all of the B-Sides and live tracks, there are enough songs to make what would have been a second record. The original record was re-pressed in 2016 on vinyl by the label Music On Vinyl with remastered sound. It is fairly easy to find. CD versions can be tracked down on eBay or Discogs for cheap. Try and get the version with the extra EP for three more songs.

Izzy has continued to record ever since 1992. Most of his work has been released in Japan, and later records have gone straight to iTunes. He has recorded nine records on his own. All spring forth from the groundwork laid down with this original lineup. Every time I see a used copy of the self-titled album, I buy it and keep in in my car to pass on to a like-minded individual. I'm shocked that the record is off everyone's radar despite the name printed on the top. This is the best place to start. And the sooner you do, the longer you will have to enjoy this nearly lost album.


-Rob Sheley

Tuesday, July 11, 2017

Retro Reviews: The Waldos - Rent Party

Review by Rob Sheley

It could easily be argued that The Waldos' Rent Party is the best record that Johnny Thunders didn't appear on. Originally released in 1994, three years after Johnny's death, his foil Walter Lure created one of the most perfect rock & roll records released at that time. Originally comprised of 12 songs (three covers & one from the Heartbreakers days), this album saw Walter picking up the torch and running with it. The record stands up as a tripod with L.A.M.F. and So Alone.

Produced by Andy Shernoff of the Dictators and featuring special guests Michael Monroe, Jesse Malin, Danny Ray, and Daniel Rey, Rent Party showcases the heavy girl group influence that is evident in both the Dolls & Heartbreakers records - making this a welcomed addition to the catalogue. Unfortunately this is the only one. Within one year of its initial release, original drummer Charlie Sox & bassist Tony Coiro had passed away, leaving Rent Party as the only snapshot of a band that had been playing since the mid '80s. The best rock & roll records emphasize the roll, which is always far harder to do than the rock. Everyone can rock. But if you can showcase the roll, then you've got something. Rent Party toggles that line perfectly with the style and swagger that is missing from making a good record great and a great record classic. The record was re-released and remastered in 2013 by Jungle Records (as well as getting a proper vinyl issue as well) - raising the overall sound to proper levels, showcasing the sax & harmonica parts, and adding some bite to the guitars and moving them more to the front. Any one of these songs could have made the cut for L.A.M.F. You could easily put them right next to "Pirate Love" or "Get Off The Phone". "Flight", from the What Goes Around or Down to Kill compilations, gets a proper release. "Never Get Away", "Count Down Love" (penned by Jerry Nolan), and "Love That Kills" exemplify the simple direct nature of rock & roll at its very best. The covers featured here show that the band could take anything and make it its own. "Busted", the Harlan Howard song made famous by Johnny Cash at Folsom Prison, the wild party of the Doc Pomus song "Seven Day Weekend" (originally recorded in 1983 by Walter as The Heroes [also find the Dolls version, it is killer as well]), and the closing raucous of "Party Lights" (nearly unrecognizable to the original in its power) show that Walter and the band were well-schooled in their influences and how to incorporate them into their rock & roll soup. The 2013 reissue on Jungle adds the original 1991 7" tracks (recordings prior to and different from the LP versions) of "Crazy Little Baby" and what would become the LP's opener "Cry Baby". In addition, the reissue includes the 7" from the Blessed (featuring D Generation bassist Howie Pyro). The two tracks from 1979 are very similar to the work of the Zeros - nothing bad, just a comparison point.  

Rent Party is a lost gem originally released on Sympathy For The Record Industry with little fanfare. It got a bit lost in the shuffle of Long Gone John's insane release schedule at that time. I cannot urge you enough to make the record part of your collection. You will be thrilled to have it and only disappointed that you haven't had it since its original release 'cause you could have enjoyed it that much longer!



-Rob Sheley

https://www.facebook.com/theWALDOS/

Tuesday, June 21, 2016

The Prissteens: greatness from the vaults!

The intersection of punk rock and '60s girl group pop is a tradition that goes all the way back to the New York Dolls and Ramones. It's quite fitting, then, that one of the all-time great "punk rock girl groups" hailed from New York City. It has been 20 years since The Prissteens released their first single, and the wonderful label Girlsville has commemorated the anniversary by releasing a collection of demos and rarities from this short-lived and criminally overlooked band. It's available now on cassette and digital album.

In their original form, The Prissteens were Lori Lindsay, Leslie Day, Tina Canellas, and Mighty Joe Vincent (The Devil Dogs). Later members Jon Chalmers and Dave Lindsay would eventually join Lindsay and Day in the equally great Purple Wizard. Personal favorites of Joey Ramone, The Prissteens released their debut full-length Scandal, Controversy & Romance on Almo Sounds in 1998. The album was produced by Richard Gottehrer - a legendary '60s songwriter also known for his work with The Go-Go's, Blondie, and Holly & The Italians. Now out of print, Scandal, Controversy & Romance was one of countless really good late '90s albums that the world has seemingly forgotten about. It was largely ignored in punk circles because it was on a major label, and there wasn't really a mass audience for this kind of record in the heyday of post-grunge and nu metal. If you can track down a copy, it's well worth picking up. The Prissteens were in the process of demoing tracks for a second album when they broke up, and those long-lost recordings make up the bulk of Demos & Rarities. The collection also includes the essential and long out of print A-sides from the band's three singles along with a live version of album favorite "Let Me Run Wild".

Listening to this compilation, I get the sense that a second Prissteens album would have sounded very different from the first. I have it on very good authority that Lori Lindsay was not a fan of the big rock sound that The Pristeens came to be known for. This was always a group that aspired to be more like a female Everly Brothers. The tracks on this collection seem to be more in the spirit of the band's early singles and the later recordings of Purple Wizard: rawer, simpler, and heavily indebted to the timeless sounds of the '60s. "If You Really Loved Me" could easily pass for a golden nugget from one of the Girls In The Garage compilations, while Muffs fans will be all over the pure pop goodness of "Sugarboy". Nods to The Monkees ("Nothing To Say") and Strangeloves ("Are You Ready") are nothing short of terrific, and the primal garage rock of "Oh Billy" is a perfect lead-in to those superb A-sides. "The Hound", one of the hottest rock n' roll sides of the '90s, sounds like The Sonics backing The Shangri-Las. It alone would make this collection a must-buy.

Of course Demos & Rarities is a special treat for longtime Prissteens fans. But it's so much more than that. For those who weren't around in the '90s or were just never aware of this band, this compilation is probably a better introduction to The Prissteens than their lone studio album (and what a deal for six bucks!). Scandal, Controversy & Romance, while an excellent album, essentially took the band out of the garage. And something valuable was lost in the process. Demos & Rarities will have us remembering The Prissteens for what they really were - precursors to the thriving garage girl group scene of recent years.



-L.R.

https://girlsville.bandcamp.com/album/the-prissteens-demos-rarities
https://www.facebook.com/GirlsvilleRecords

Wednesday, May 27, 2015

The Beltones back in print!

I am delighted to announce that Jason Duncan has revived Just Add Water Records a decade after its last release. It's awesome to see one of my favorite labels of all-time back in action. And I'm particularly pleased with the way Duncan has chosen to re-launch JAW. He has decided to reissue his favorite release: The Beltones' classic 1996 single "My Old Man". That happens to be my favorite JAW release as well!

I could not name many musical acts more worthy of a reissue than The Beltones - one of the best bands to come out of that '77/street punk scene I so avidly touted in the late '90s. While The Beltones (now based in Austin, Texas) are still around and playing shows, they have not released new music in 14 years. I'm so pumped that a whole new generation of fans will have the chance to discover this amazing record. And for those of us who fondly recall owning the 7" back in the day, the good news is that it holds up phenomenally well after 19 years. While the original version backed "My Old Man" with "Fuck You Anyway", the new release adds a third track in "Juvenile Delinquent" (from the 1996 compilation I Can't Believe It's Not Water). All three songs were later re-recorded for the band's 1998 EP On Deaf Ears. And while I love On Deaf Ears, you just can't beat the original versions of these songs. "My Old Man", in my opinion, is the best 7" The Beltones ever made. It demonstrates that this band had way more going for it than the Stiff Little Fingers influence that reviewers constantly brought up. Bill McFadden was (and probably still is) an exceptional songwriter. He never got enough credit for the humanity of his lyrics or the sheer passion in his voice. Who else, in a '90s punk scene dominated by formulaic love songs and political rants, was writing about the repercussions of alcohol abuse and the misfortunes that drive men to drink? And the wisdom that "Juvenile Delinquent" imparts to young people looking to find their way is truly timeless.

If you're a longtime Beltones fan or just someone who'd like to own a fantastic record, head on over to the new Just Add Water store to reserve your copy of "My Old Man". 300 copies are being pressed on black - plus 100 each on red and blue. Hurry: the colored vinyl is already nearly sold out! 



-L.R.

https://www.facebook.com/TheBeltones
https://www.facebook.com/justaddwaterrecords
http://justaddwaterrecords.bigcartel.com/

Tuesday, January 13, 2015

1995 Revisited


These 20-year flashback posts are always a lot of fun, but this one has been especially enjoyable to prepare. 1995 was the year I got my start in the record-reviewing racket. And while my brief "retirement" circa 2008-2011 precludes me from truly saying I've been in the zine/blog game for 20 years, I feel a special nostalgia now that we're exactly two decades removed from 1995.

I came upon the punk world a little differently than the typical person. I grew up on classic rock and metal and did not, as a teen, have much awareness of any music outside of the mainstream. That very much changed in the wake of Nirvana mania, and the latter half of my college years were largely spent in vast explorations of this new and exciting world of indie/alternative/underground music. I read every alt-rock rag I could get my hands on and bought all kinds of new music without any regard for specific sub-genres. Some of it I liked, and a lot of it I didn't. And after a couple years of trial and error, it became obvious to me that the punk stuff was what really spoke to me. So much of what was passing for "alternative" music struck me as a little too high-brow or just simply not my taste. But punk rock was pure simplicity and excitement, and I just loved the way it mixed a primal aggression with catchy songs you could sing along with. I knew this was my music. And while I didn't particularly care for the offerings from the bigger punk labels like Epitaph and Fat Wreck, the underground pop-punk scene and nascent '77 punk revival were so exciting to me that I was inspired to start spreading the gospel via the printed word. These were exciting times to be a fan of punk music. You'd see an ad or a review in Maximumrocknroll, stuff some cash in an envelope, and wait by the mailbox for 2-3 weeks anticipating the arrival of your prize. There was never any guarantee that you were going to love every record you bought, but there was always that thrill in taking chances on bands and labels that were entirely unknown. As I look at my list below of the best punk rock records of 1995, I realize that I had not heard of most of these bands prior to that year. And it should also be noted that many of these bands became longtime favorites of mine. That's what I mean when I say that 1995 was my 1977. 

On to the list!

Top 12 Albums of 1995

12. The Loudmouths - self titled
Straight from the band bio: "In the hell for leather tradition of three-chord sleaze n' roll, The Loudmouths spit out angst-ridden, feline-charged power trash and booze-soaked thrash that taps into the energy of early '80s hardcore and leaves behind a trail of blown ears and broken beer bottles." Yeah, that pretty much sums it up! Two decades later, Dulcinea is still going strong with Midnite Snaxxx!

11. Green Day- Insomniac 
I always liked Green Day and never particularly cared whether they were "punk" or not. My first "big move" in the zine world was to make it clear that I did not side with the punk purists and anti major label zealots who made a sport out of bashing Green Day in the mid-'90s. My favorite Green Day albums are still the first three, but I'd put Insomniac in a dead heat with Nimrod for fourth. 

10. Trash Brats- The Joke's On You
The glam-punk thing was still a few years away from really catching on, but in 1995 the Trash Brats were already longtime fixtures in Detroit's rock n' roll underground. With its perfect marriage of Cheap Trick and the New York Dolls, The Joke's On You was perhaps five years ahead of its time (or maybe 18 years behind it!). Either way, this album is a true classic of its form. If "Downtown Nowhere" doesn't make you happy to be alive, there's probably no hope for you.

9. Riverdales- self titled
Say what you want about old Ben Weasel, but this album is a fine example of what Ramones-core is supposed to be.

8. Electric Frankenstein - The Time Is Now!
Electric Frankenstein was one of the bands most responsible for reviving "old school" punk in the mid-'90s. Released on the heels of several outstanding singles, this monster collection combined the aggressive guitars of Detroit rock and Aussie punk with the snarl and sleaze of bands like the Dead Boys. Over the years a lot of bands would come on the scene with their own blends of hard rock and punk, but nobody did it better than E.F.!

7. The Queers- Move Back Home
If it seems like The Queers put out a great album every year between 1993 and 1996, that's because they did! Absolutely the greatest pop-punk band of the '90s.

6. Boris The Sprinkler - Saucer To Saturn
Still the Boris album I'm most likely to listen to. Fave tracks: "I Wanna Get To Third Base With You" and "Superball Eyes".

5. Motards - Rock Kids
A true classic of down-and-dirty drunken garage punk awesomeness. Then, as now, Austin had it going on.

4. U.S. Bombs- Put Strength In The Final Blow
When I think about '90s punk rock and why it ruled, the Bombs are always one of the first bands to come to mind. They put their own So Cal spin on the classic '77 sound and consistently made great albums. I don't think they fully hit their stride until War Birth, but I do love the pure rawness of this debut LP.

3. The Muffs- Blonder And Blonder
In my personal experience, the debate as to whether the second Muffs album is better than the first Muffs album has led to many shouting matches and late night brawls. I still think the self-titled album is just a little bit better overall than Blonder And Blonder. That said, I will say that side one of Blonder And Blonder is as good as any album side I've ever heard. It still boggles my mind that this album was on a major label at the absolute peak of the alternative rock craze and still couldn't get a lick of radio support. What kind of clueless fucktard actually thought that Jars Of Clay or Dishwalla were more worthy of airplay than The Muffs? No wonder the "music revolution" failed!

2. Oblivians - Soul Food
Without question one of the most important and enduring artifacts of '90s garage punk, Soul Food managed to throw The Stooges, Sonics, and Killed By Death comps into a blender with the traditional sounds of Memphis to create a musical concoction unlike anything the world had ever heard. A masterpiece of wild and trashy rock n' roll.

1. Swingin' Utters - Streets Of San Francisco
The Utters in the mid-'90s were pegged as modern disciples of The Clash and Stiff Little Fingers, and to a certain extent that was true. But they were so much more than that. Their songwriting (largely by guitarist Darius Koski) took some influence from traditional American genres like folk and bluegrass. And lyrically, the band was surprisingly poetic for a group so often pigeonholed as "street" punk. In more recent years, the Utters have more overtly embraced the sounds of Americana. But circa Streets Of San Francisco, they were still incorporating the spirit of those influences into a straight-ahead punk rock sound. Streets Of San Francisco is fiery, passionate, and hands down one of the best punk LPs of the 1990s. 

Honorable mentions:
Beatnik Termites - Taste The Sand 
Gaunt - Yeah, Me Too
Zoinks! - Bad Move Space Cadet
Sicko - Chef Boyrudum

As good as the LPs were in '95, the EPs and singles are what I recall the most fondly. A top ten would be insufficient - so here's 20!

Top 20 Singles/EPs of 1995

20. Moral Crux/Boris The Sprinkler split 7"
19. Hormones- Cartographer Of Love
18. Parasites- Burnt Toast
17. Dead End Cruisers- The Suave The Distant The Gay The Scummy 
16. Connie Dungs- Missy And Johnny
15. The Invalids - Punker Than Me
14. The Queers- Surf Goddess
13. Vindictives- Alarm Clocks
12. Registrators- Monkey
11. Jake and the Stiffs - Spike  
10. Boris The Sprinkler- Drugs and Masturbation
9. Automatics - All The Kids Just Wanna Dance
8. Problematics - Blown Out
7. The Crumbs- I Fell In Love With An Alien Girl 
6. The Rip Offs - Go Away
5. Johnny Bravo- She's Walking Out Again
4. The Beltones - Lock And Load
3. Teengenerate - Out Of Sight
2. Nobodys - Politically Incorrect 
1. The Stitches - 8 x 12

Honorable Mentions:
Teen Idols/Mulligan Stu split 7"
The Rehabs- Here Come The Rehabs
Grieving Eucalyptus- Johnny Made Me Do It

Of course the above lists don't even begin to summarize the wide variety of punk music that came out in 1995. But they do give you an idea of what I was listening to in '95 and why I might have been inspired to start writing about music. I didn't really start getting into garage punk until a couple years later. But when it comes to the '77 and pop-punk stuff on these lists, I pretty much bought all of it when it was new. And if it seems my tastes haven't changed a whole lot in 20 years, I'd say that's very true!

-L.R.