Cindy Lawson - Don't Come Crying To Me

Cindy Lawson is without a doubt a legend in the Minneapolis music scene. Yet it would be hard to deny that she's making by far the best music of her life today — nearly four decades into her recording career. Out on Rum Bar Records, Don't Come Crying To Me is Lawson's second solo EP in two years and an absolute gem of a pop record. Again working with producer Steve Price and a super-talented cast of Twin Cities–based musicians (guitarist Jerry Lefkowitz, bassist Dave Randall, drummer Mark Devaraj), Lawson has turned out an all-killer, no-filler collection of songs inspired by '60s pop, garage rock, and a myriad of other influences. Right off the bat, her voice grabs you. She's one of the finest singers in today's independent music scene, but she's also a terrific writer of melodies and a formidable lyricist. Any of these six tracks could have been the "hit," but certainly the title track was no-brainer choice for the EP's lead single. It's an absolutely ripping garage rocker with timely lyrics about the inevitable consequences of dishonesty. Paired with the scorching-hot "Screamin' White Jezus," it kicks off the EP with a bang. "Go Find Another Heart to Break" finds Lawson seamlessly blending her classic '60s pop sensibilities with Matt Pahl's stellar saxophone. "I'll Be Around" pairs powerful vocals and lyrics with an irresistible rhythm & blues inspired beat. "What if She Followed Him to Nashville" is gorgeous country-pop that has me reflecting on the way our lives are defined by our choices (Jon Duncan from Trailer Trash guest stars on piano and takes the song to a whole other level). Bringing the EP to a delightful conclusion, "I Don't Want You Anymore" is a super-fun kiss-off that channels classic girl group pop with a punk rock edge.  

It would not be accurate to call Cindy Lawson a "late bloomer." Instead she's more like a fine wine, inspiring all of us who refuse to accept that our best years are behind us. She and Price have the perfect artist/producer relationship and have now collaborated on two flawless collections of rocking pop songs. Credit Miss Georgia Peach for hearing New Tricks last year and knowing that Malibu Lou would want to put it out. As they say, the rest is history. And now people all over the world have had the good fortune to enjoy Lawson's music. My only criticism of Don't Come Crying To Me is that it leaves me wanting more. But let's be real: that's not actually a criticism! Any time I'm sad the EP is over, I can just listen to it again. And I have a feeling that more new music from Cindy Lawson is forthcoming. If you want to hear a fantastic singer with fantastic songs backed by a fantastic band, you too will feel blessed to have Don't Come Crying To Me leave you wanting more.

-L.R.

https://rumbarrecords.bandcamp.com/album/dont-come-crying-to-me
https://cindylawson.bandcamp.com/
https://open.spotify.com/album/2uusgH2YR4fVEZ0YUq9xTw
https://cindysongs.com/
https://www.facebook.com/CindyLawsonSongs
https://www.instagram.com/cindy.lawson/

Sparrowhawk - self titled

Producer Andy Mathison explains it best: "Have you ever seen one of those vans with a paint job like the ceiling of the Sistine Chapel, but in place of cherubs are wizards? Sparrowhawk is the soundtrack to that lifestyle." Not only did these words have me laughing so hard that I spat out my beer, but they also made me an instant believer. Minneapolis-based Sparrowhawk plays denim-clad 1970s arena guitar rock without a trace of pretension or irony. This is by no means the first band to combine Thin Lizzy worship with elements of punk rock and power pop, but I can't think of another group that has pulled off such an approach in a more satisfying way. Sparrowhawk manages to rock thunderously while still having the soul and sincerity of a Midwestern punk band. On its 11-track debut album, this foursome sounds poised to travel back in time to 1978 and open an epic bill headlined by Lizzy, Cheap Trick, and The Dictators (the band even covers "Stay With Me," the greatest song of all-time).

Sparrowhawk singer/guitarist Johnny Eggerman and drummer Damien Tank were formerly in the most excellent Private Interests. Zach McCormick (Senior Video) is on vocals and bass, and Martin Mueller (Daniel & The Real Feels) creates guitar harmony magic with Eggerman. All these guys can play their asses off, and that's fortunate. This style of music simply wouldn't work without two stellar lead guitar players and a monster rhythm section. The logo and album art by Lucas Gluesenkamp are over the top in the most awesome way possible, and that definitely fits the band's efforts to carry on as if the '70s had never ended (I want to live in that world too!). I feel like listening to this album will cause your facial hair to grow at an accelerated rate that science would never be able to explain. But beyond all the stylistic commitments is a really terrific band with genuinely good songs and chops for days. A la kindred spirits Sheer Mag and White Reaper, Sparrowhawk understands that the true staying power of arena rock comes from well-crafted tunes with massive hooks. This record is loaded with anthemic rockers that sound best with the windows down and your fist hoisted triumphantly in the air. And that aforementioned cover song is totally aces. Mathison skillfully captures the band's power without polishing away its blue collar edge. If this sounds like an album that ought to be experienced on vinyl, you're in luck. The band pressed 200 copies that will likely go fast. This release is also available from all the major streaming sites. Don't let me catch you listening at a low volume!

-L.R.

https://sparrowhawkrock.bandcamp.com/album/sparrowhawk
https://open.spotify.com/album/5n6d6XpSXE0nnoCRpMF5TK
https://music.apple.com/us/album/sparrowhawk/1703734829
https://www.facebook.com/Sparrowhawkrock/

The Right Here - "Reckless Kind"

Every release in I-94 Recordings' "Detroit cover" 7" series has been an absolute home run, and that continues to be the case with the latest installment from Minneapolis foursome The Right Here. The concept of the series goes like this: each artist pairs an original A-side number with a cover of a Detroit band or artist on the B-side. Previous installments have featured Ricky Rat, Brian McCarty, and Pat Todd & the Rankoutsiders. The Right Here has no problem hanging with such exclusive company. A-side "Reckless Kind" is what I'd call a vintage Right Here track: an anthemic heart-on-sleeve rocker in the grand Midwestern tradition. Jim from I-94 has been a fan of this band since Stick To the Plan came out in 2016, and his request to have the band join the Detroit covers series was met with great enthusiasm. This installment, like all the others, works because each side of the record is equally important. "Reckless Kind" is a grade-A rocker that definitely falls into the "recommended if you like The Replacements" category. For its Detroit cover, the band went a little outside the box and chose Sponge's 1995 hit "Molly (16 Candles Down the Drain)". The Right Here's interpretation of "Molly" is quite remarkable -- transforming this vintage slice of '90s alt-rock into a melancholy country rock heartbreaker. If the ultimate goal of a cover is to make a song your own, The Right Here gets a ten out of ten here. If I didn't know any better, I'd think this was one of the band's originals! 

"Reckless Kind" is such an extraordinary single that it makes me want to immediately revisit The Right Here's most recent album Northern Town. The 7" is available now from the I-94 Recordings website in many varieties of colors. Previous installments in the Detroit covers series are still available as well. Additional installments from the Candy Snatchers and David Bierman Overdrive are due out this summer with many more in the works! Hit up the label's web site to order records and catch up on all the latest I-94 news! 

-L.R.

https://therighthere.com/album/reckless-kind-single-digital-only
https://i-94recordings.com/collections/frontpage/products/the-right-here-reckless-kind-7
https://www.facebook.com/I-94-Recordings-113204123938004/
https://www.facebook.com/TheRightHere

https://www.instagram.com/therighthere/

Cindy Lawson - New Tricks

Eight days ago, I wrote about The Complete Clams, a 15-track retrospective on one of the most criminally underrated rock and roll bands to come out of Minneapolis/St. Paul in the later 1980s. This was just the first half of a duology of releases that fully welcomes Cindy Lawson to the Rum Bar Records family. It was followed yesterday by New Tricks -- the long-awaited solo debut from Clams vocalist and Twin Cities legend Lawson. 

New Tricks is the first set of original songs recorded by Lawson since her old band Whoops Kitty released its self-titled CD in 1996. A quarter of a century later, Lawson's voice sounds as amazing as ever -- or perhaps even more amazing than ever. Within the first 30 seconds of my first contact with "How It Feels," her voice had sent chills down my spine. You can go back and listen to The Complete Clams or the Whoops Kitty album and hear a young talent of tremendous promise. After a long period of semi-retirement from the music biz, Lawson is back to completely fulfill that promise. To these songs, Lawson has brought decades of experience in life and music. And her songwriting skills clearly never left her. The well-named New Tricks incorporates many of Lawson's long-held influences (such as '60s pop and girl groups) while still sounding fresh, original, and modern in the year 2022. The album was superbly-produced by Steve Price (of the excellent '90s Twin Cities band Rex Daisy), who knows a thing or two about what a rocking pop record ought to sound like. From the crunching pop-rock of "How It Feels" to the sultry bounce of "I'm Not the Only One" to the garage rock inspired thump of "You've Got Quality" to the girl group majesty of "Dream Baby" to the hard-rocking grit of "I'm Loaded," this album covers a lot of ground without ever having to veer too far from the timeless structure of the three-minute pop song. A couple other tracks will be of great interest to long-time fans. The old Whoops Kitty song "Let's Pretend" gets quite the modern makeover. "Nope" is a loving tribute to its author -- the late, great Lori Wray. Both songs fit perfectly on the album. 

Listening to the fabulous New Tricks, one might be tempted to curse the music gods for depriving Cindy Lawson of the stardom she so deserved. But who says it's too late? Far from a post-script on Lawson's musical career, New Tricks represents its rebirth. It's the work of an artist whose best days still lie ahead of her. She's got wisdom, she's got talent, and she's got that voice. All over the world, people are hearing tracks from New Tricks on underground radio shows and saying, "Wow, who is that?!" Malibu Lou spoke to me earlier this year about how blessed he is to work with some of the best singers out there today. He mentioned a few names in particular (Shanda Cisneros, Miss Georgia Peach, Jen D'Angora) which I absolutely agreed with. I must add Cindy Lawson to this select group, and I am sure Lou will concur! Locals will not want to miss Lawson's performance this coming July 15 at the Amsterdam Bar & Hall in St. Paul: a Rum Bar Records showcase event that will also feature Beebe Gallini and The Dogmatics! Wow and wow!

-L.R.

https://rumbarrecords.bandcamp.com/album/new-tricks-2

https://cindylawson.bandcamp.com/

https://cindysongs.com/

https://www.instagram.com/cindy.lawson/

https://www.facebook.com/RumBarRecords/

The Clams - "Crazy Boys"

Now here's a real blast from the past! Rum Bar Records has reissued The Clams' second single, which was originally self-released back in 1987. This is a major treat for anyone who enjoys garage/pop/girl group rock and roll. The Clams were Cindy Lawson (guitar, lead vocals), Patty Jansen (bass), Karen Cusack (drums), and Roxie Terry (lead guitar). They were mainstays of the Twin Cities club scene in the later '80s -- releasing two singles and an EP along the way. Lawson, a music legend in Minnesota, has recently joined the Rum Bar family. In May, the label will be reissuing her solo EP New Tricks and releasing a full Clams discography titled The Complete Clams. But up first, we have this dandy 7" featuring the tracks "Crazy Boys" and "Train Song". Both songs are high energy blasts of raw and catchy rock and roll. To say that The Clams fit right in with the Rum Bar roster would be a severe understatement. It's not hard to hear the shared musical DNA with the likes of French Girls, Pale Lips, The Sorels, Beebe Gallini, Hayley and the Crushers, Natalie Sweet, and many more amazing Rum Bar artists. The label is even offering a special deal that bundles this Clams 7" with singles by Beebe Gallini, French Girls, and The Short Fuses for just $22 (Hurry: supplies are running out!). You may notice that the digital single flips the order of the original 7" -- promoting "Crazy Boys" to A-side status. Honestly, it makes little difference. Both tracks are hit-worthy. The Clams are one of those bands that fall into the "shoulda been huge" category, and I'm stoked that their material is about to be introduced to new generations of fans along with anyone who may have missed out the first time around. Can you imagine what it would have been like to have been a fly on the wall at clubs like 7th Street Entry or The Uptown Bar back in the '80s? "Crazy Boys" will give you a little taste of that!

-L.R.

https://rumbarrecords.bandcamp.com/album/crazy-boys-b-w-train-song
https://cindylawson.bandcamp.com/
https://www.facebook.com/RumBarRecords

Beebe Gallini - "You Ain't Getting Nothin"

In addition to being one of the best garage rock bands going, Beebe Gallini is well-known for its ability to cover the hell out of a song. So of course you could expect this band to turn out a first-rate Christmas single! Teaming up with local legend Cindy Lawson, St. Paul's finest rock and roll outfit has gifted us with a double shot of holiday goodness on Rum Bar Records. Listening to the garage ripper "You Ain't Getting Nothin", you would never in a million years guess that this was a Goo Goo Dolls song. Miss Georgia Peach takes full ownership of the song with her usual powerhouse vocal, and simply put this tune freaking rocks! You would swear it was written decades ago! On the virtual flipside, the band is right in its element with a truly excellent rendition of the Stevie Wonder classic "What Christmas Means To Me" (featuring MGP and Lawson on co-lead vocals). The girl group and Motown vibes are strong and undeniable. Given my reluctance to overshare Christmas music this time of the year, I've adopted a standard where I'll only review holiday releases that are simply too good to ignore. This one sure falls into that category. Who am I kidding? Beebe Gallini could cover the Dallas Cowboys fight song, and I'd still be writing a rave review. This band never disappoints!

-L.R.

https://rumbarrecords.bandcamp.com/album/you-aint-getting-nothin-b-w-what-christmas-means-to-me
https://beebegallini.bandcamp.com/
https://www.facebook.com/WeAreBeebeGallini/
http://beebegallini.com/
https://www.facebook.com/RumBarRecords

The Erratix - "You Don't Care"

If you're a longtime follower of this blog, you're gonna flip over the debut single from The Erratix! Pals of mine like Mick Fletcher and Jay Castro have been touting this Minneapolis-based foursome for a while. Once I heard the record, I quickly understood why! This single sounds like it could have come out on Dirtnap Records in 2003! The Erratix play that early 2000s by way of late '70s/early '80s brand of powerpop/punk that was such a huge impetus in my starting F & L a decade ago. Out on the Swedish label Beluga Records, the band's debut 7" "You Don't Care" is steeped in Exploding Hearts worship both musically and visually. And there's nothing wrong with that at all! Both tracks are snappy and hook-laden but also tinged with heartache. You know I'm a sucker for this sound, and these guys sure do it well. The keyboards are a really nice touch! If you dig o.g. British punk pop (Buzzcocks/The Boys) and new wave era Elvis Costello, this is a band that ought to be on your radar. A very promising debut!

-L.R.

https://belugarecords.bandcamp.com/album/the-erratix-you-dont-care
https://www.facebook.com/theerratixmpls
https://theerratixmpls.bandcamp.com/

Beebe Gallini - "Dusty"

It was just a month ago that I wrote about the release of Beebe Gallini's terrific digital EP East Side Story. In addition to making this EP available to the listening public, Beebe Gallini has also been working on a new album called Pandemos. This album started as a way for the band to share demos of original tracks with its new guitar player. As more and more demos were recorded and the pandemic shut down live shows and full band rehearsals, the band decided that they had themselves an album! Pandemos will be out on this spring. In the way of a preview, the band has released the single "Dusty". The "pandemic" version of Beebe Gallini functions as a trio with Miss Georgia Peach on vocals and guitar, Amy Larson Pearson on bass, and Travis Ramin moving from guitar to drums (they'll be back to a foursome when life returns to normal). Given that almost all of the band's recorded tracks to date have been covers, it's going to be very exciting to hear a bunch of Beebe Gallini originals! If "Dusty" is any indication, Pandemos is gonna be one of 2021's must-hear albums! On this track, the band tears into some great high energy rock and roll with a pop sensibility. "Dusty", an ode to a girl who just can't stay home, hits you with a killer hook literally within two seconds! And my god, Miss Georgia Peach can flat-out sing! But you knew that already, didn't you? If the latest Short Fuses album is a little "too rock" for your tastes, you may find Beebe Gallini far more to your liking. Look for Pandemos in March on Rum Bar Records!

P.S. - that cover art is the best thing ever! 

-L.R.

https://rumbarrecords.bandcamp.com/track/dusty-free-digital-download-single
https://www.facebook.com/RumBarRecords
http://beebegallini.com/
https://www.facebook.com/WeAreBeebeGallini

Nato Coles and the Blue Diamond Band - Flyover

Flyover, the second studio album from Nato Coles and the Blue Diamond Band, has been a great many years in the making. The period between this album and its predecessor Promises To Deliver now approaches six and a half years. For context, consider that the year Promises To Deliver came out, the Houston Astros were a 51-win team! But if this is what we get after all of this time, then every last bit of the wait was worth it. Out tomorrow on Don Giovanni Records, Flyover is exactly the album you would expect from one of THE great American rock and roll bands of present times. It does not redefine what Nato Coles and the Blue Diamond Band are all about. The Minneapolis outfit continues to be the quintessential garage/punk influenced bar band - playing traditional rock and roll with grit, soul, and an impressive flair for storytelling. And from the first spin, this album absolutely knocked me out. Coming in at ten tracks, Flyover is honest, straight-forward rock and roll done so well that you wouldn't want it to be anything else.

While I have heaped plenty of accolades upon Nato Coles as a singer, songwriter, and general man of the people, I have not said nearly enough about the Blue Diamond Band. The group's formidable chops are the result of years of continuous touring and an undying commitment to rocking the roof off of every dive bar, pub, club, social hall, amphitheater, shopping complex, picnic pavilion, water park, coffee shop, bowling alley, gambling den, and basement venue that will have them. The band as constituted on this 2017 recording is Sam Beer on lead guitar, Mike Cranberry on drums, Luke Lecheler on keyboards, and Bill Rohla on bass. Beer is an absolute force on this release. I don't know whether to describe him as Nato's own Mike Campbell or as a combination of Scott Gorham and Brian Robertson. Either way, he's one of my favorite guitarists working today (It figures that I'd be huge fan of a guy named "Beer"). From the opening strains of "Under The Flyover", the Blue Diamond Band sounds plain hot on this release. Cranberry and Rohla mightily drive the rhythm while Lecheler works the keyboards with exemplary old school R & B flair. And while his band fires on all cylinders, Nato delivers a stunning set of rockers, ballads, and anthems.

Given the years elapsed between albums, Flyover might be considered Nato's own Darkness on the Edge of Town (although it's probably closer to The River!). He had to be dying to get some of these songs on record. Like any Nato Coles and the Blue Diamond Band record, Flyover transports you to a world where the bright lights and hot sounds of transcendent rock and roll spring weary souls to life. Propelled by a big hook chorus and Beer's guitar heroics, "Under The Flyover" is absolutely the huge opening statement this album required. This is the sort of magic we expect from the Blue Diamond Band, and Nato's lyrics vividly complete the picture:

It's a hub of glorious hell in a west Wisconsin town/

I won’t stop coming around/

The last time we came through we raged until the dawn/

Count the bottles and bodies on the lawn… allright!

"Under the Flyover" is one of several standout rockers on this album. While slightly slower in tempo, "L.P.'s Yard" is even more powerful and emotion-packed (in Nato's own words, the song possesses a nostalgia "usually reserved for songs about great victories against the odds in battle"). "Standing On the Corner Alone" (previously heard on 2016's Live At Grumpy's) and "Michelle of the City" are vintage BDB sing-along anthems. "The Roadrunner" is a high energy barroom rocker replete with a moral ("Don't you waste no time/You know tomorrow's thine"). "Demolition Man" is completely over the top swagger-rock with lyrics to match ("I'm your real live, bonafide, nationwide, rippin' tide, living eyed, triple-wide, chicken-fried, double A-side"). If it's rock you crave, it's rock you shall receive! But Nato and the Blue Diamond Boys have reached the point where their ballads and quietly reflective numbers just might outshine their rockers. "Phoenix, Arizona (1989)" offers the indelible lyric "If this is what I wanted, why do I feel so haunted?" and leaves the Blue Diamond Band with at least one song in its back pocket should it ever find itself performing at Bob's Country Bunker. "Milo and the Bars" finds Nato excelling as a storyteller and expert chronicler of the human condition. In my book, it's the finest songwriting of his life. The roots/folk/Americana ballad "Disposable Camera" finally delivers Nato his "Here Comes A Regular" moment. While "epic" may be a term overused by music reviewers, I cannot think of a more appropriate way to describe closing number "The Avenue of the Saints". 

Flyover demonstrates why I'm such a fan of Nato Coles and the Blue Diamond Band. It's an album full of memorable characters, compelling stories, and eternal truths - all presented in the context of great American rock and roll. This is an album that could be enjoyed equally by a Fest attendee and your (admittedly hip) grandfather. It's full of songs that remind us to savor the remarkable moments in our lives and take the time to get to know the people we encounter in this world. I know I was a little surprised that "Dangerous" and "Midnight In Memphis" from the split with State Drugs were essentially leftovers from this album's recording sessions. But now having heard Flyover, I get it. These ten songs belong together, and I wouldn't change a thing. Compact disc release coming next month on Rum Bar Records!



-L.R.

https://natocoles.bandcamp.com/album/flyover 
https://rumbarrecords.bandcamp.com/album/flyover 
http://natocolesandthebluediamondband.blogspot.com/ 
https://www.facebook.com/natocolesmusic 
https://dongiovannirecords.bandcamp.com/music 

The Short Fuses - Dawn of the Deaf

Well that didn't take very long! Remember when I told you that The Short Fuses' "comeback" single "The Pink" was a teaser for a brand-new full-length album? I bet you didn't think the tease would only last two weeks! The Short Fuses just couldn't be cruel enough to make you wait several months for Dawn of the Deaf. Out digitally today on Ramo Records, this is the Minneapolis trio's long-awaited fourth album - and first since 2003's Dutchess Hustle.

I will admit that I'm always suspicious when any reviewer proclaims a longstanding band's latest album its "best yet". It's usually a load of crap. And given my involvement in writing some of the press info for Dawn of the Deaf, you would be doubly advised to approach this review skeptically (I would probably suggest that for all of my reviews!). But as a fan, I 100% believe this is The Short Fuses' best album. And it's not even close. The irony is that I'm a notoriously "pop" guy, and this is by far the least pop thing the band has ever done. There were always hints of pop lodged in there with the rock and soul on previous records. Dawn of the Deaf, on the other hand, is a fully focused hard-rocking record made by three individuals who sound like they're on a mission to pummel anything in their path. To recap the origins of this record, The Short Fuses had not recorded or played together since 2003. In the intervening years, Miss Georgia Peach and Travis Ramin had played in 1,000 bands combined (I exaggerate; it was only 999). Justin Staggs was, among other things, painting, making movies, and directing music videos. At some point not too long ago, Justin was writing some new songs that seemed perfect for The Short Fuses. He realized he missed playing with his good friends Georgia and Travis. The feeling was mutual. And just like that, a band was reborn. Travis, who'd been working on a large number of power pop projects, was really itching to rip some guitar. And riding a surge of 2016 election rage, The Short Fuses were energized to make their most powerful sonic statement yet. The band called in the big guns. Daniel Rey (Ramones, Nashville Pussy, Misfits) was enlisted to produce Dawn of the Deaf. Adrian Popovich from Tricky Woo was brought in to mix the record. The legendary Geza X was tapped for mastering duties. All stops were pulled out to ensure that this album would melt faces. Did it work? Well, I would definitely recommend donning protective headgear before clicking play.

I am a fan of the entire Short Fuses' catalog. But to me, Dawn of the Deaf sounds like the album this band has been trying to make for 20 years. Sometimes there's no substitute for that veteran know-how. And the band's excitement over making this record is palpable. It doesn't hurt that Georgia sounds amazing. Her voice is just so full of power and soul and a conviction that is undeniable. In that respect, she's perfectly in sync with the entire band. The Short Fuses have unleashed a resistance rock record for 2019, and they could not sound any more fired-up and raring to fight! You can hear the group channeling its inner Motörhead and MC5 more than ever. There's also a discernible Misfits/Danzig flavor to a lot of these songs which reflects the band members' East Coast upbringing. If you prefer your heavy rock with a sniff of the supernatural, the title track and "Galloping Ghost" ought to hit you just where you like it. Meanwhile, songs like "Baby Got Bat Wings" and "Rockford Getaway" demonstrate how to properly do scorching rock and roll with a soul influence. If you're not already pissed about the present state of things, "Furiosa" just might push you over the edge. A song titled "Rock Yo Self (Until You Wreck Yo Self)" promises something very epic...and proceeds to deliver exactly that!

I think most of us would have been perfectly happy with ANY new music from The Short Fuses. I would gladly have taken instrumental covers of Gaga hits or a concept album about the life and times of Ralph Malph. But lord almighty, has this trio ever crushed this reunion! Dawn of the Deaf is the ultimate "crank-it-up-loud and rock-the-fuck-out!" raging guitar record. The riffs are roaring, the solos are fire, and Miss Georgia reminds us that she is one of the true powerhouse singers in rock. And from a songwriting perspective, the band has never delivered a more compelling batch of tunes. If you've been waiting a while to have your ass kicked by a rock and roll record, HERE YOU GO!



-L.R.

https://theshortfuses.bandcamp.com/album/dawn-of-the-deaf
https://www.shortfuses.com/ 
https://www.facebook.com/TheShortFuses/ 

Narco States - Temples Into Tombs

If I close my eyes while listening to the new Narco States album, I can just about convince myself that the band is ripping it up on stage right in front of me. That level of energy and immediacy are somewhat the product of home-recorded fidelity but more likely a testament to a band with seriously hot chops. Out on Piñata Records, the Minneapolis outfit's excellent sophomore LP Temples Into Tombs forges a three-headed monster out of '60s garage, psychedelic rock, and proto-punk influences.

Temples Into Tombs comes out guns a blazing on its opening tracks - sounding like what I imagine would have happened if Iggy Pop had fronted an American garage/psych band circa 1966. Propelled by Aaron Robertson's standout electric organ and Robb Lauer's powerhouse drumming, "Met Tet", "Fascist Fashionistas", and "Generation F" will get your heart pounding and your booty shaking. Meanwhile Michael MacBlane-Meyer on vocals channels Iggy at his most wild and primal - adding an attitude and edge that are generally missing from standard garage rock revivalism. This band really smashes it up! But just when you think you've got Narco States figured out, things start to get very interesting. The title track takes a slower, more mysterious turn - as much Doors as it is Stooges. The nearly seven-minute long "Ahemait" delves into acid rock/heavy psychedelia a la Iron Butterfly or Blue Cheer - allowing for deep sonic explorations but never ceasing to rock. That leads seamlessly into "Jealousy"- by far the most "accessible" track on the album and a fine example of straight-up psychedelic rock. Album closer "Fang Decay" carries on in a similar manner for nearly two minutes before departing on a long strange trip of its own.

What I really appreciate about Temples Into Tombs is that it doesn't lose steam after those first three or four relentlessly rocking tracks. If that was all that Narco States had to offer, the album would be worth hearing but perhaps not nearly as memorable. I love that the band matches its pure energy with great creativity in songwriting and musicianship. "Ahemait" and "Fang Decay" are not just excuses for the band to jam out for five minutes plus. They're interesting, formidable songs that show a whole other side to Narco States. "Jealousy", buried all the way down at track 7, would have to be considered the "hit". If, in the digital age, you wonder why bands even bother making albums anymore, it's worth noting how well these nine tracks fit together. This is one you'll wanna have on vinyl!



-L.R.

https://pinatarecords.bandcamp.com/album/temples-into-tombs 
https://narcostates.bandcamp.com/ 
https://www.facebook.com/narcostates2012 
https://www.facebook.com/pinatarecords/ 

The Cult of Percolation- Elegant Interactions Laboratory

"When you listen to this, I love you. All these songs are about surviving. Maybe that's what makes them feminist; they're about being told you aren't worth anything, and then surviving. Or flourishing even. Or just killing everything that's ever hurt you. And rising from the blood-soaked earth. You're listening to an epic battle between me and all my demons, in whatever intergalactic forms they come in."
-Mary Allen 

Sometimes artists can articulate the meaning of their craft so beautifully that I prefer to let them speak for themselves. The above quote from Mary Allen is all you really need to know about her band The Cult of Percolation. How can you read those words and not want to hear the music? I can tell you that I've never heard a band in my life that sounds quite like The Cult of Percolation - a Minneapolis outfit so "out there" that you just might believe this really is a soul band from another galaxy. Out on Piñata Records, TCOP's new album Elegant Interactions Laboratory finds Allen exorcising her demons in lockstep with a band that's dialed in to groove. Somehow this is an album that feels timeless and wildly experimental all at once. Allen is of course at the center of the action, but each player in the band proves to be essential. That rhythm section (comprised of Ian Stemper and Ike Hartis) is absolutely on-point, and there are a number of moments where organist Tanja Anđić or guitarist Eliot Gordon puts a crucial touch on a song. There's such a sense of adventure to this album that it's a little surprising to discover that most of the songs clock in right around the three minute mark. That groove has plenty of room to breathe, yet no song wears out its welcome. All of this works perfectly in support of Allen, who genuinely sounds like she has summoned her vocals from a place so deep down that it could very well be outside of this earth. At a purely visceral level, you could cue up any of these songs and just enjoy dancing to the music. At a deeper level, these are songs you can really immerse yourself in and fully experience. The intergalactic R & B of "Heavy" and stellar garage/soul of "A New Way" make a fine 1-2 punch off the bat, but this is an album that really hits its peak on the back stretch. "Lovin a Van" is the closest this record gets to "conventional" soul music, and it's positively electrifying. "Moon Girls" and "Love Drug" feature extraordinary vocal performances from Allen. Closing track "Indigo Children" incorporates influences that could be considered either psychedelic or interplanetary depending on your viewpoint. It puts a powerful exclamation on a powerful album.

No doubt Elegant Interactions Laboratory is a little different from the music I typically write about. And I must admit that I didn't quite know what to make of it the first time I heard it. Yet I'd be hard-pressed to think of another group that's more representative of the true essence of rock n' roll. And there's just no denying that Allen is a rare and formidable talent. The Cult of Percolation has traveled from light years away to deliver a message of love and hope to our planet. I'd say they've arrived just in time.



-L.R.

https://pinatarecords.bandcamp.com/album/elegant-interactions-laboratory
https://www.facebook.com/MaryAllenAndThePercolators/
https://www.facebook.com/pinatarecords/

Meet The Chinchees!

When Ed from Radiohearts/Audio Ammunition asked me if I'd heard The Chinchees, I immediately knew I had to go check this band out. And let me tell you, Ed did not steer me wrong! Earlier this year, this Minneapolis trio self-released its debut album and quickly sold out the entire pressing. Dirt Cult Records is stepping up to issue a second pressing, which I hope will generate widespread attention for this immensely infectious collection of power pop tunes. This is one of those albums that delivers an instant jolt of energy the moment you put it on, and the fun just keeps going all the way to the end. The band tears through these songs with such unbridled gusto that you almost don't notice how well-crafted the hooks are. This is just awesome punky pop that manages to not sound like a thousand other "pop-punk" bands. Vocally, at least, I'm reminded a great deal of the late '80s/early '90s heyday of college radio. If you dig, say Tenement or Low Culture, you need to be all over The Chinchees! Stay tuned to Dirt Cult's Bandcamp for information on this second vinyl pressing. Digital album available now from both the label and the band directly!



-L.R.

https://dirtcultrecords.bandcamp.com/album/the-chinchees
https://thechinchees.bandcamp.com/album/the-chinchees
https://www.facebook.com/TheChinchees

MAMA/Private Interests split!

In some alternate universe where Faster & Louder is a glossy print magazine available at gas stations and drug stores everywhere, Private Interests would be gracing the cover decked in Cold War era attire - the photo positioned under the headline "Hottest New Bands of the Year!". I've been psyched to hear more music from this Minneapolis foursome since its outstanding debut EP arrived this past fall. And as luck would have it, I did not have to wait very long. Private Interests has teamed up with Chicago's MAMA to give us a split 7" EP uniting two of our greatest Midwestern cities under the banner of power pop worshiping at the twin-guitar altar of Thin Lizzy.

MAMA's two contributions to the split were taken from the band's short-run Eye in the Sky cassette, and they were fine choices to be preserved on the vinyl format. "Lazer Lover" is the "hit" here - a full-on '70s arena rock rager that would not sound out of a place on a playlist sandwiched between Nazareth and The Nuge. You've got two guitars taking it straight over the top and a singer who can really belt it. I can't help imagining myself in a darkened arena in 1978, and suddenly the lights come on and this is the song that ignites a triumphant night of rock. BAM! The terrific "Girls Next Door" slides nicely into the Big Star/Raspberries corner of power pop, but with clear nods to Cheap Trick and Lizzy as well. This is a best-case scenario for a split: I was drawn in by the presence of one particular band and ended up liking the other one just as much. I will definitely be checking out the rest of MAMA's releases!

On its half of the split, Private Interests continues to show why it's one of the most promising up-and-coming bands out there. "Livin' In The City" is a really pleasant surprise: the band's first foray into straight-up classic power pop a la The Nerves and 20/20. The verse rides a wave of melancholy on the strength of Cameron's vocal, and then that chorus punches hard. I love the amazing lead guitar work and the satisfying thump of the drums! The equally good "Finest Hour" bears all of the trademarks of a Johnny Eggerman song: more of a mid-tempo vibe with a plaintive vocal and dual guitar lines intersecting in perfect harmony. Coming from a town where Karl-Anthony Towns and Andrew Wiggins exemplify the complementary forces of power and finesse, this pair of songs could not be any more satisfying. Private Interests is quickly zooming up my list of current favorite bands!

I wanted to post on this EP as early as possible due to the extremely limited nature of this vinyl release. Just 300 copies were pressed, and only 30 of those were made available for Piñata Records to sell to the public. The remaining copies went straight to the bands to sell at shows. So if you're nowhere near these bands and want a vinyl copy, you better move fast! This record is a perfect representation of all of the great rockin' pop that's currently emerging from the American Midwest. Get on it!



-L.R.

https://pinatarecords.bandcamp.com/album/mama-and-private-interests-split-7
https://www.facebook.com/privateinterests/
https://www.facebook.com/MAMAbandchicago/

Color TV: the debut EP!

Hey! How about another band from Minneapolis! What is it about all these cold places producing so much awesome music?! Color TV is a band comprised of punk rock veterans who've played in groups such as Cheap Time, The Retainers, and Welcome Home Walker. Following a very good demo from last year, the band's debut EP is out now on Deranged Records. I would describe Color TV's sound as hard-driving melodic punk - which is obviously something I'm into! Influences range from old school Aussie punk to Killed By Death comps to contemporary garage/punk/powerpop to the classic sounds of Minneapolis/St. Paul. Essentially, this is a band you'll want to hear if you like catchy punk with balls. From the first notes of "Meat Wagon", it's clear that this band is at home on the Deranged label. And on "To Death", a slower tempo yields a dark poppy vibe that's very much in line with the best of today's "modern" punk. All in all, this is a totally ace debut from a band that seems poised to make a huge splash going forward. Check it out!



-L.R.

https://derangedrecords.bandcamp.com/album/color-tv
https://colorteevee.bandcamp.com/
https://www.facebook.com/colorteevee
https://www.facebook.com/derangedrecords/

Introducing Private Interests!

I've been quiet for a while, but I've got something really great for you today! Private Interests certainly qualify as a Twin Cities power pop super group. You may know Johnny Eggerman as the lead singer of the fantastic Mystery Date - a band I've reviewed three times for F & L. He's one of the finest and most overlooked songwriting talents of today's power pop scene, and now he has joined forces with Cam Soojian from Thee Rugs. The idea was to start a band influenced by '70s powerpop/punk/mod (Jam, Buzzcocks, etc.) with Thin Lizzy-esque harmonized guitars. Sounds like something I'd be totally into, right? Heck, yeah! Also featuring the talents of Damien Tank and Trevor Engelbrektson (lifelong pals who comprise the rhythm section of Minneapolis soul standouts Southside Desire), Private Interests formed last year and are releasing a terrific debut cassette today called Only for a Moment. With so many of these individuals having contributed to an original and exciting new wave/mod revival scene in Minneapolis/St. Paul in recent years (Tank is the co-founder of Piñata Records), it's hardly a surprise that Private Interests are in a similar vein. Eggerman's contributions to this EP do bring to mind his work with Mystery Date, but there's something really cool about having two creative forces driving this particular band. The band bio nicely sums up this effect by citing the balance between Eggerman's "Cold-War narratives and anxiously romantic lyrics" and Soojian's "pure loud-fast pop contributions". Add in Tank and Engelbrektson's well-honed R & B chops, and you've got a band that no mod-punk fan should dare miss!

The songs contained on Only for a Moment are the first six tunes that Private Interests worked on together after forming last year, and they were recorded live with Eliot Gordon at his all-analog studio in Minneapolis. Thus the excitement and energy of a new band coming together totally shines through, while at the same time the songwriting comes across as nuanced and fully realized. If you're already familiar with Mystery Date and Thee Rugs, you'll find that Private Interests retain the best elements of both bands while further establishing an identity of their own. That kick-n-the-tail rhythm section doesn't hurt either! I'm struck by how perfectly Soojian's melodic lead guitar style suits Eggerman's songs - as if these two were destined to work together. And their harmonized guitar work totally hits that late '70s/early '80s new wave sweet spot.

Private Interests have a way of reminding me of some of my favorite bands from my favorite era of music without falling into the category of copyists. They take the sounds of my youth and genuinely make them new. Seriously: when was the last time you heard of a power pop band citing mid-20th Century Russian literature as an influence? With the Cold War itself seemingly primed for a comeback, this just might be the perfect band for the moment! Only for a Moment is looking like a strong contender for best EP of the year. Cassette is out now on Forged Artifacts, and you can get a digital copy via Bandcamp for just four bucks!



-L.R.

https://privateinterests.bandcamp.com/album/only-for-a-moment
https://www.facebook.com/privateinterests/

Lutheran Heat: the debut album!

There's nothing I love more than hearing a band that's totally in my wheelhouse yet somehow completely transcendent of genre. Out today on Piñata Records, Louder From the Other Side is the full-length debut from fab Minneapolis foursome Lutheran Heat. It's a record that I can recommend not just to the garage/punk/power pop crowd, but really to anyone who appreciates exceptional songwriting and music with soul. Likability is one of the great intangibles of music, and Lutheran Heat just has it. Louder From the Other Side sounds a little like that next great album I've been waiting for X to make since the late '80s. Garth Blomberg and Sara Pette are dynamite on dual vocals - excelling individually but making their real magic when their voices combine. They write songs that speak to what's meaningful in life, and they sing them with heart and sincerity.

Having had a few years to develop an impressive repertoire of songs and a strong identity as a band, Lutheran Heat has managed to deliver an unusually accomplished debut album. Musically, the band is all about catchy and well-crafted pop songs - with the additional influence of rootsy rock n' roll, country, soul, indie rock, doo-wop, and the very spirit of Minneapolis itself. These tunes have a way of hooking you not just with melody, but also with the stories they tell and the feelgood vibes they create. Kicking off with the idyllic stunner "About a Summer", Louder From the Other Side proves to be one of those rare albums that delights from start to finish. The hits just don't stop. "Keep Comin' Back" brings to mind something along the lines of Van Morrison fronting a '60s girl group. "Now Ya Know" is full of folksy country goodness that will have you smiling into next week. "Stay Cool" delivers an indelible melody that you'll find yourself whistling at seemingly random moments. "Who Ya Cryin' For?" could get even the dead up and dancing. And "Wire, X, and Heart" is an anthem for those of us who associate many of our most cherished memories with the music that was playing at the time. 

Louder From the Other Side, far more than just a fine collection of songs, is an album in the truest sense. And it's a fantastic one at that. Drummer Justin Nelles totally nails it when he says, "These songs will make you wanna toss some beers in your bag and ride to your favorite porch or river spot and drink 'em all with your buddies." It's a perfect release for these final weeks of summer - as we strive to savor all of the good times the season has left for us. I could say that you should buy this album if you like rootsy power pop and garage stuff. But somehow that would be selling it short. So to put it more accurately: you should buy this album if you love music!



-L.R.

http://pinatarecords.bandcamp.com/album/louder-from-the-other-side
https://lutheranheat.bandcamp.com/
https://www.facebook.com/LutheranHeat
https://www.facebook.com/pinatarecords/ 

Nato Coles & The Blue Diamond Band: the live album is here!

I'm usually pretty "meh" about live albums. I get why they exist: to capture what a band really sounds like in concert and perhaps even make you wish you'd been there in person. But for whatever reason, live albums rarely do it for me. Nine times out of ten, I'd rather listen to studio recordings. So it's surprising and exciting to finally encounter a live album that I'm totally into! Live At Grumpy's captures Nato Coles & The Blue Diamond Band in their proverbial element - a dive bar in downtown Minneapolis. This happens to be one of my favorite bands, which really raised the stakes for potential disappointment (after 20 years, I still wish I could have back the $12 I spent on the Parasites' Nyquil-Fueled Rock Armada). But I had a hunch that this live album would be different, and I was right!

As great as their records are, anyone who's seen Nato and the boys live will tell you that this is a band you have to witness in person. And while no recording can fully duplicate the experience of actually being there, a great deal of what makes Nato Coles an enthralling and engaging performer comes through on these live tracks. He has a way of working a crowd that fully conveys his passion for entertaining - and that brilliant off-the-cuff spoken portion of "An Honorable Man" alone justifies the purchase price of this album. It's clear that if you plunk down some hard-earned cash to see Nato Coles & The Blue Diamond Band play live, you're gonna get treated to a show! The sound quality here is actually pretty decent, and the song selection avoids excessive overlap with the band's existing LP Promises To Deliver. In addition to album favorites "You Can Count On Me Tonight" and "Econoline", Live At Grumpy's features new material ("Standing on the Corner Alone"), songs from Nato's prior bands ("An Honorable Man", "Coffee Cup"), one of the cuts from the King Friday split ("Sweet Baby"), and a rousing cover of largely unknown Minneapolis garage punkers Cortez The Killer ("I'm A Shark").

A live album from Nato Coles & The Blue Diamond Band is such a brilliant idea that it's almost hard to believe it took this long to happen. And it sure doesn't disappoint! In the words of Malibu Lou, this album captures a "truly spiritual and uplifting rock n roll performance". There's no denying it: this is a band with some serious live chops! If you've had the pleasure of seeing the band perform, Live At Grumpy's will bring back fond memories. And if you've yet to experience Nato and the gang in concert, this album will make you want to go see them as soon as possible! The rendition of  "An Honorable Man" documented here could prove to be Nato's own "I Want You To Want Me" or "Maybe I'm Amazed" - a live take that is ultimately recognized as the definitive version of the song. And if you're like me, you'll soon be searching for any information you can find on Cortez The Killer! Out now on Rum Bar Records, Live At Grumpy's is a must-have for any fan of Nato Coles & The Blue Diamond Band. And don't miss the band on tour this month! 



-L.R.

https://rumbarrecords.bandcamp.com/album/live-at-grumpys
https://natocoles.bandcamp.com/
https://www.facebook.com/natocolesmusic/
https://www.facebook.com/RumBarRecords/

The Right Here's new album!

Rum Bar Records has completed its heartland punk trifecta in style! Having released a pair of gems last year in Mono In Stereo's debut album and the deluxe reissue of Nato Coles and the Blue Diamond Band's Promises To Deliver, Malibu Lou knew he had just had to jump on the latest album from The Right Here. Stick To The Plan is the second full-length release from the Minneapolis foursome - and its first since 2012's All Herky Jerky. A co-release between Rum Bar (compact disc) and Throwing Things Records (vinyl), Stick To The Plan is out today.

If you haven't heard The Right Here since its last album, I think you'll be pretty blown away by Stick To The Plan. With the assistance of engineer extraordinaire Andy Mathison, the band has fully come into its own on this stellar release. This is the kind of record you'd expect to emerge from the frigid upper Midwest - 13 heartfelt songs blending rootsy punk rock, alt-country, and rugged all-American rock n' roll. Luke Lecheler plays some mean rock n' roll lead guitar, and Ryan Haasch is a total ball of fire on drums! I like that the band brings the big anthem right off the bat with the impassioned "That's All We Got And More" - a thundering powerhouse of a song that a lesser band might have held back until the end of the album. Spoiler alert: this is only the first of several anthems on this record! Stick To The Plan does have its share of ballads, and they're quite good. In particular, "Drunk And Rolling Around" and "One More and We'll Move On With Our Lives" combine a haunting old country feel with Westerbergian influences that ought to be mandatory in the Twin Cities. But first and foremost, this record rocks. It sounds great on the open road with the windows down, and locals ought to purchase promptly given the short-lived nature of Minnesota summers. "Judge Me When I'm Sober" and "'Til The Wheels Come Off" are the very definition of fist-pumping anthems (please keep one hand on the wheel if you're driving). "If This Land Isn't My Land" is what all folk-punk should aspire to be, and I can't listen to it without picturing hundreds of crazed fans storming the stage to sing along. "Leaving For A Reason" was the perfect choice for the lead single/music video - it's everything I like about The Right Here combined into one song.

Having worked a very long time to bring Stick To The Plan into the world, The Right Here has every reason to be proud of this album. These guys have written the best songs of their lives, and they've delivered a fantastic record full of heart and guts and profound truths. If you're already hip to the previous installments in Rum Bar's heartland trilogy, you're gonna love this one as well. If not, the label is offering all three for just 25 bucks. Grab a Hamm's from the fridge and enjoy some fine music!



-L.R.

https://rumbarrecords.bandcamp.com/album/stick-to-the-plan
https://www.facebook.com/TheRightHere/
http://therighthere.com/
https://www.facebook.com/throwingthingsrecords/

Juvie: the debut album!

Woo! On the heels of the great Travis Ramin assembling a treasure-laden Bandcamp page late last year, we have more exciting news from Travisland! His latest band, Juvie, has just released its first full-length album! It's called You Ain't Gonna Rock And Roll No More, and it's out on Italy's Surfin' Ki Records. Ramin (Tina and the Total Babes, The Fevers, The Short Fuses, Nikki Corvette and The Stingrays) has been a shining star of the garage and power pop scenes for two decades. And Juvie is up there with the very best of his bands. This Minneapolis outfit takes its primary inspiration from '70s music that sounded like '50s music (think Dave Edmunds, Gary Glitter, Sha Na Na). I've always had a soft spot for that "'50s in the '70s" genre of rock n' roll, and Juvie totally does it justice on this cookin' slab of wax. Stylistically, the album hops back and forth between bubblegum glam ("53rd & 4th"), power pop ("Love Crunch"), and good old rock n' roll ("Something Ain't Right"). And the songwriting is so spot-on that any of these tracks could pass for a cover of some forgotten golden oldie. Dave Edmunds himself would be proud to call "Hot Lisa" his own. "Tomahawk" and "Greaser's Fraud" just might launch a worldwide revival of the rock n' roll instrumental. "Little Diane" sounds like a track Shadow Morton might have cut with Dion or Del Shannon. "Go Wild, Go Really Wild" comes off like a number that got cut from the Grease soundtrack for being a little too dangerous.   

Seriously: how can you not love a band that comes up with a song called "You're Gonna Look Like A Monkey When You Get Old"?! The key to succeeding with this kind of music is to tap into the spirit of the '70s rock n' roll revival without crossing over into the dreaded novelty band category. That's no easy feat, but Juvie nails it. Of course the band is setting out to have great fun, but these songs are just too damn good to be dismissed as cruise ship nostalgia. Juvie, I'd say, fits perfectly on a label roster that includes the likes of Radio Days and Baby Shakes. The band's debut album is by no means an attempt to bring back rock n' roll. Rather it's an assertion that it never went away in the first place! Somewhere Bowzer is flexing his arm in admiration.

Note: order the album here! Surfin' Ki, hilariously, prices its Bandcamp downloads at over $1,000 each!



-L.R. 

https://surfinkirecords.bandcamp.com/album/you-aint-gonna-rock-and-roll-no-more
http://surfinkirecords.bigcartel.com/product/juvie-lp-preorder
https://www.facebook.com/Juvie-431066283764201
https://www.facebook.com/surfinkirecords
https://travisraminproducer.bandcamp.com/