The Peawees - One Ride

What really needs to be said about La Spezia, Italy's The Peawees? They are the epitome of class and quality in the punk/rock 'n' roll universe. Hervé Peroncini is one of the finest songwriters of his generation. Fast approaching 30 years as a band, The Peawees are aging like fine wine. One Ride, their seventh album, is out now on Wild Honey Records, Spaghetty Town Records, and FOLC Records. How many bands would kill to be able to make just one record this great? The Peawees manage to do it time and time again, and that's something we should never take for granted. The Peawees certainly didn't take it for granted. They started working on One Ride five years ago. And then, of course, the world changed. So did the lives of the band members and eventually the band's lineup. The album got put on hold. Touring got put on hold. Life got put on hold. But the band persevered. Six years after releasing their previous album Moving Target, The Peawees are back with a vengeance. One Ride again finds the band playing the perfect mix of punk rock, garage, soul, and old style rock 'n' roll. This is me listening to a Peawees album: "What a great song! There's no way the next one could be as good!" And then I keep saying the same thing over and over until the album is finished. One Ride is an absolutely bulletproof set of songs. There's not a sub-par track in the bunch, and the band (now with Dario Persi on guitar) sounds fantastic. These songs have energy, guts, timeless style, and hooks all day long. 

A long time ago, The Peawees released an album called This Is Rock'n'Roll. Although the group's progression from those humble beginnings has been extraordinary, that title still captures what The Peawees are all about. From all the best parts of the past 70 years of rock 'n' roll, they create something that sounds fresh and totally their own. One Ride was a long time in the making, but it has proven more than worth the wait. Hands down, it's one of the year's best albums. If you're hunting the colored vinyl, hit the links below for further details!

-L.R.

https://thepeawees.bandcamp.com/album/one-ride
https://open.spotify.com/album/3P5NwjUGO23JMDkWl0Nf44
https://spaghettytownrecords.bigcartel.com/product/the-peawees-one-ride-white-vinyl
https://www.folcrecords.es/producto/the-peawees-one-ride-edicion-espanola-preorder/
https://www.facebook.com/thepeawees/
https://www.instagram.com/thepeawees/
https://wildhoneyrecords.bandcamp.com/
https://www.facebook.com/wildhoneyrecords/
https://www.instagram.com/wildhoneyrecords___/
https://www.facebook.com/SpaghettyTown/
https://www.instagram.com/spaghettytownrecords/

BellRays - "Ball of Confusion"

I-94 Recordings presents the eighth installment in its Detroit covers 7" series, and boy is it ever a doozy. When I heard that the mighty BellRays were covering The Temptations' "Ball of Confusion" for this series, I was pumped. Lisa Kekaula is one of our greatest living soul singers, and this five-decade-old song remains frighteningly relevant in 2023. Kekaula and Bob Vennum have kept The BellRays going strong for over three decades now. On this release, Mark Cisneros (bass) and Ron Miller (drums) round out the band formidably. I figured that a BellRays cover of "Ball of Confusion" could not miss, and I was not wrong. The band's rocked-up rendition of this classic is as inspired of a recording as you'll hear all year. Kekaula's vocal is pure fire, and Vennum rips it up Detroit rock style on guitar. If you had never heard the original version of the song, you'd swear that these lyrics were written about today's world. To give the song an updating, the band has added lyrics referencing the likes of Big Pharma, active shooters, inflation, and warring political ideologies. This version honors the songwriting genius of Norman Whitfield and Barrett Strong while adding a genuinely contemporary urgency. Hearing these lyrics sung with such power and conviction over top a thundering punk rock and roll attack absolutely gives me chills. So much has been said about the current sad state of things, but nothing sums it up quite like Lisa Kekaula belting the lyrics "Ball of confusion — that's what the world is today!" My god, this track ought to be all over the radio and blaring from a million households. That vocal is just unbelievable! On the flip, "I Fall Down" is a high quality original song that could have been a single in its own right. With its killer hook and bluesy mid-tempo rock style, this tune sounds like something you might have heard on AOR radio circa 1987.  

Your question now is not "Do I really need this single?" but rather "Which versions of this single must I own?" Several variations are already sold out. But at the moment of this review, copies remain available on Riverside Red, Pacific Blue, In the Pink, Dijon, Olive Green, Pumpkin, Dragonfruit, and classic black vinyl. Superstar artist Ben Brown designed the cover, and of course it looks amazing. This is one of the most essential pieces of vinyl to come out in quite some time. Hit up the I-94 web site to snag this smoking hot release along with all of the previous installments in the Detroit covers series. Installment #9 from the Zero Boys will be out soon! 

-L.R.

https://i-94recordings.com/
https://www.facebook.com/people/I-94-Recordings/100062967923575/
https://thebellrays.com/
https://www.facebook.com/BellRays
https://www.instagram.com/thebellrays/
https://open.spotify.com/artist/1j22sbMyu5n26N00BebDBh
https://linktr.ee/thebellrays

Heatwaves - Heatwaves #4

Spain's Heatwaves, well-known for their '60s girl group meets new wave pop sound, have been quiet for a few years. But that changes with the release of their new EP, simply titled Heatwaves #4. It arrives four years after Heatwaves #3. And while the time between releases has been long, Heatwaves #4 proves to be well worth the wait. Lead track "Don't Say No," co-written by Luis Sanchez and band pal Kurt Baker, is nothing short of magical. It's a timeless shot of Motown-inspired pop that ought to be the song of the summer (C'mon, the band name is the Heatwaves!). With its infectious beat, majestic hooks, and gorgeous vocal from Ana Beltrán, this song sounds instantly familiar yet genuinely fresh. I choose to imagine it emanating from swimming pools, backyard cookouts, beach parties, water parks, sporting events, and car players all across the globe for several months to come. "Take Back," which channels '60s girl groups by way of Blondie, is darn near as good. "Nothing New Under the Sun" has a groovier '60s vibe to it, while "C'est le bonheur" is sublimely upbeat and laden with harmonies to die for. This, my friends, is a record made to be played over and over! 

Heatwaves #4 is available now from Family Spree Recordings. If you love this record (and you will!), be sure to snag the band's Complete Recordings (2017-2020) as well!

-L.R.

https://heatwavesfsr.bandcamp.com/album/fsr139-heatwaves-heatwaves-4-ep
https://familyspreerecordings.bandcamp.com/
https://www.instagram.com/_heatwaves_/
https://www.facebook.com/heatwavescs
https://www.facebook.com/familyspreerecordings

The Magnificent - Monolithic

The Magnificent, the hottest soul revue on the West Coast, features two legendary front-men, six distinguished musicians from Southern California's modern-day garage/punk/rock and roll scene, and two go-go dancers. But even if California is a little outside of your do-able range of travel, you can still experience The Magnificent's transcendent rhythm & blues dance party through the magic of compact disc. Out now on Rum Bar Records, the band's debut album Monolithic is jam-packed with prime cuts of late '60s/early '70s R & B which have been re-worked with full-on garage rock gusto. The lineup will knock your socks off. You've got Mighty Manfred (The Woggles) and Nathan "The Deacon" Long (MI6) joining forces on lead vocals. Kent Holmes (The Brutalists) is on guitar. Bruce Duff (The Streetwalkin' Cheetahs) is on bass. Erik Szabo (Park Bench Prophets) is on keys. Todd Westover (The BellRays) is on drums. Joe Jennings (JJ & the Real Jerks/The Legendary Swagger) and Geoff Yeaton (The Legendary Swagger/Streetwalkin' Cheetahs) are on sax. With that set of players, you know you're not just getting vanilla renditions of old favorites. This is no run-of-the-mill cruise ship soul revue, son. This is a world-class rock and roll band putting its exciting twist on some stone-cold classics (and playing some originals as well). Highlights for me include crackling versions of Johnny Daye's 1967 Stax side "Wat'll I Do For Satisfaction," the Etta James/Sugar Pie DeSanto party-starter "In the Basement," The Vel-Vets' northern soul standard "I Gotta Find Me Somebody," Chuck Bridges' 1966 hip-shaker "Don't You Make Me Cry," and the Eddie Floyd/Janis Joplin classic "Raise Your Hand." Any super-fan of '60s/'70s soul will have to admit that the song selection is indeed magnificent. And when it comes to executing a timeless rhythm & blues style with real deal rock and roll energy, you simply won't find a more capable band. These guys themselves are super-fans of classic soul, and that love comes fully through on this blockbuster of an album. 

Monolithic was tracked  by Paul Roessler at Kitten Robot studio and mastered by the legendary Rodney Mills at his Masterhouse lab in Atlanta. No doubt, The Magnificent's live show is a true audio-visual spectacle that needs to be witnessed in person. But the band proves to be pretty great on record as well. Of course you will want to seek out the original versions of these songs (no doubt the band intended that). But as an album onto itself, Monolithic is tremendous fun and a first-rate work of garage soul. The party starts the instant you push play!

-L.R.

https://rumbarrecords.bandcamp.com/album/monolithic
https://www.facebook.com/TheMagnificentSoulRevue
https://www.facebook.com/RumBarRecords

Shanda & The Howlers - It Ain't Easy

If you sometimes find yourself listening to your favorite soul and R & B records from the 1960s and lamenting that nobody makes music like this anymore, I'm here to tell you that at least one band does! It Ain't Easy, the third album from Las Vegas based foursome Shanda & The Howlers, releases today on  on compact disc on Rum Bar Records. The CD looks uncannily like a miniature version of an LP from 55 years ago (the only thing missing are liner notes on the back!). The music, I'm thrilled to say, fully lives up to the packaging. 

Malibu Lou genuinely loves every single piece of music he releases. But he's not one to blow smoke. So when he told me last year that It Ain't Easy was the best album he'd heard in ten years, that got my attention. I didn't need much convincing to begin with. Shanda & The Howlers, authors of two albums that have placed in my year-end top ten lists, were already one of my favorite bands. But Lou was right: this new album is a monster! It Ain't Easy is the perfect marriage of the pop appeal of the band's debut Trouble and the old school rawness of follow-up Hurt For Me. On Hurt For Me, you could hear the band beginning to stretch beyond its roots in Motown/Stax soul. It Ain't Easy takes that progression to another level. It's at its core a rhythm and blues record, but it embraces a wide variety of other influences from mid-century American music.

What makes It Ain't Easy such a home run is that it's exceptional in all of the necessary departments: vocals, musicianship, songs, and production. Shanda Cisneros is unquestionably one of the best singers I've ever had the privilege to review (my god, that tone!). The creative chemistry she has with bassist and songwriter Luke Metz is something special. She sings Metz's lyrics as if they were coming from her own soul. And Metz has pulled off something that a lot of modern musicians struggle to do: crafting a collection of songs that his musical heroes would have been proud to have written. You could fool almost anyone into believing that "Miles and Miles", "Please Come Home", and "Used To Call Me Baby" are long-lost R & B chart hits from the '60s. "Whatcha Gonna Do Now" would sound perfectly in place on a compilation of classic girl group hits. But this album is every bit as good when The Howlers stray from their wheelhouse. Taking full advantage of Cisneros's powerful pipes, the Sonics-style garage rocker "Want You Anyway" is nothing short of electrifying. "Won't Be Back No More" sounds like it should be spinning on the turntable in James Bond's bachelor pad. "That Boy" (a duet with the Delta Bombers' Chris Moinichen) is an upbeat jazzy number that's sure to get you up and dancing regardless of what you may be doing at the moment. The title track is a gritty shot of traditional blues propelled by a vocal that will knock your socks off. 

Soul music made by contemporary artists usually falls short for me in one of two ways: either it's tainted by modern influences and production, or it's just not good enough to rival the legendary records it emulates. Shanda & The Howlers have managed to avoid those pitfalls and produce three of the finest rhythm & blues albums of recent memory. It Ain't Easy is by far the best of the three, and it finds The Howlers back at home on Rum Bar! I'm not one for putting numerical ratings on art, but it speaks volumes that It Ain't Easy has remained in constant rotation in my car CD player for the last seven weeks. I just can't enough of these songs! The album's production by John Fallon and Joe Lawless with Luke Metz is warm and crisp, never getting in the way of all the exceptional musical and vocal performances. And I love that the album is bookended by two different versions of "Miles and Miles" -- one reminiscent of a Motown hit and the other a tender lullaby. Music this timeless is exactly what the modern world needs more of! It Ain't Easy is available now from Rum Bar Records and all the major streaming & digital platforms!

-L.R.

https://rumbarrecords.bandcamp.com/album/it-aint-easy

https://www.facebook.com/shandathehowlers

https://www.facebook.com/RumBarRecords

Andrea Gillis - "Leave The Light On"

Andrea Gillis has been one of the most outstanding singers and live performers in American rock and roll going back to the early 2000s. As Red On Red Records continues to add premium talent from the Boston music scene to its roster, the addition of Andrea Gillis was a no-brainer. While you might think of Gillis as a soul/blues singer first and foremost, she has created a diverse catalog of music that crosses many genres. "Leave The Light On", her new single on Red On Red, really shows her pop side. Her inspiration for this track was to write a "feel good, coming out of the darkness, good old fashioned dance number". And thus "Leave The Light On" is a wonderfully suitable song for this moment in time -- as we collectively eye the light at the end of the tunnel. For a dance track, it's quite mellow. That might seem like a contradiction, but actually it's not. This is a song that warms the soul. Gillis delivers a beautiful, powerfully empathic vocal. The production on this track (courtesy of Gillis, Marc Pinansky, and Pat DiCenso) is absolutely stunning -- weaving together gorgeous synthesizers, a simple & satisfying beat, and a veritable chorus of  backup singers. This track features some of the finest musicians in all of the Boston scene (Pinansky, Mike Oram, Ed Valauskas) and really ought to be all over the radio. And, hey, it might be all over your radio if you know which shows to listen to! "Leave The Light On" is the song we all needed right now. If this is your introduction to Andrea Gillis, you'll want to dig into her catalog over at Bandcamp. It's full of killer releases bridging the worlds of rock, soul, and pop. Check it out, and you'll know what people have known in Boston for years: Andrea Gillis is a star! 

-L.R.

https://redonredandreagillis.bandcamp.com/
https://andreagillis.bandcamp.com/
https://redonredrecords.bandcamp.com/artists
https://www.facebook.com/andreagillisband/
https://www.facebook.com/redonredrecords/

Genya Ravan/The Shang Hi Los - split 7"

Now here's a dream team-up from the Rum Bar Records hit factory! Genya Ravan (Goldie & the Gingerbreads, Ten Wheel Drive) is a true legend of rock and roll. The Shang Hi Los were my #1 new band of 2020. Both artists share real estate on a new 7" release that Malibu Lou has been raving about to me for months. And let me tell you: he had reason to rave! Ravan's contribution to this split is an absolutely amazing cover of the soul classic "I Who Have Nothing" (a Leiber & Stoller adaptation of the Italian song "Uno Dei Tanti"). As Ravan began work on the recording of this song, it occurred to her that the legendary Nile Rodgers needed to play the rhythm guitar. So she reached out to Rodgers, who immediately agreed to play on the song. Needless to say, he absolutely kills it on this track. And Ravan, now with six decades in the industry under her belt, has never sounded better! Working with a red-hot band that also includes Bobby Chen, William Brady, Dennis DiBrizzi, and John Lee Cooper, Ravan breathes new life into this old classic with a powerful and passionate vocal performance. There's a funky, down-and-dirty energy to this version that gives it a unique place in the storied history of this song. We're talking about a song that has literally been recorded over 100 times. Yet there are certain artists (Ben E. King, Tom Jones, Shirley Bassey, Donny Hathaway & Roberta Flack) who have had the chops to truly make it their own. I would most definitely add Genya Ravan to that list! 

Ravan, the famed singer and record producer, is best-known to many in more recent years as a radio personality. She continues to support the bands and artists that are keeping rock and roll alive today. One of her favorite present-day singers is Jen D'Angora, so the idea of a Genya Ravan/Shang Hi Los split makes perfect sense. The Shang Hi Los' side of this split features the band's track "Sway Little Player". Since I have already written at length about this particular song (it topped my list of singles released in 2020), I'll just add that that I'm excited it's finally available on vinyl! It's usually bullshit when a record is described as a "double A-side", but in this case it's the absolute truth. Which song is the "hit"? They both are! If you buy the single from Rum Bar's Bandcamp, you'll also get Ravan's cover of Little Willie John's 1960 King Records side "I'm Shakin'" as a digital bonus track. It features guest vocals from none other than Jen D'Angora. How's that for a pair of powerhouse singers? And, hey, I would gladly listen to Genya Ravan cover R & B classics all day! Officially out today, this split is more than worthy of a place in your rec room jukebox or your case full of 45s!

-L.R.

https://rumbarrecords.bandcamp.com/album/genya-ravan-the-shang-hi-los-split
https://www.facebook.com/RumBarRecords
https://theshanghilos.bandcamp.com/
https://www.facebook.com/ShangHiLos

The Speedways - This Aint A Radio Sound

Oh my god! When it comes to getting good news in the middle of a Monday, it doesn't get much better than finding out that one of your favorite bands has just dropped a brand-new single you didn't even know was coming! Radio Sounds is the soon-to-be-released second LP from The Speedways. From the start of the year it has been my most looked-forward to album of 2020. "This Aint A Radio Sound" is the second single the band has released in advance of the album. And if this song and the last single "Kisses Are History" are any indication, Radio Sounds will be even more dramatic, heartbreaking, and full of absolute pop magic than its near-flawless predecessor Just Another Regular Summer. Of course this will be The Speedways' first album as a full band, and that's no small point. Mauro Venega, Adrian Alfonso, and Kris Hood are talented players who really bring out the best in Matt Julian's brilliant songs. With the benefit of a proper band and first-rate production, Julian has really been able to highlight the soulful influence he brings to power pop.

I think what makes Matt Julian one of my favorite songwriters is the way he manages to write sad songs that still make you feel really good. "This Aint A Radio Sound" gives off an early '80s vibe with its chirpy keyboard riff and a vocal that brings Elvis Costello to mind. Julian excels when he gets to pour his heart into a vocal, and this song has a surging energy to it in spite of its bitter subject matter. If you love big choruses and tight harmonies, prepare for two and a half minutes in pop heaven. On the flip, "Love Really Hurts Without You" is a stunning version of the '70s Billy Ocean hit that is almost completely unknown on my side of the pond. As much as I love the A-side, this cover darn near steals the record. It fits The Speedways so perfectly. The band gets to show off its Motown chops, and Julian fills his vocal with the passion and despair this song deserves. Man, this is what all of those UK blue-eyed soul new wave bands should have sounded like! It kind of pains me to live in a world where a song this good is not all over the radio. If you've never heard the original, prepare to have your mind blown!

"This Aint A Radio Sound" is out on Snap! Records/Hurrah Musica, and you should grab it while you can (colored vinyl is already sold out!). The Speedways are the best thing going in pop music these days. The full album will be out this summer, and I absolutely can't wait!



-L.R.

https://thespeedways.bandcamp.com/album/this-aint-a-radio-sound-love-really-hurts-without-you-single
https://www.facebook.com/JustAnotherRegularSummer/
https://snaprecordsspain.bandcamp.com/album/the-speedways-this-aint-a-radio-sound-fun-7032

Zach Jones - "Like The Tide"/"Yesterday of No Return"

I've had the pleasure of reviewing a couple of remarkable albums by Zach Jones in the past. And while it has been several years since Jones released his stunning long player Love What You Love, he recently launched a series of singles that continues with the newly-issued "Like The Tide". Hailing from Portland, Maine and now based on the West Coast, Jones is a singer/songwriter of great talent and exquisite taste. He draws from the timeless melodies of '60s pop and soul music while still incorporating many modern influences and his own creative vision of pop-rock. "Like The Tide" is the third single in the series Jones began last October. Honestly, I love the idea of releasing music in small batches like this. As a fan, I like being able to focus more on individual songs and really savor each of them. "Like The Tide" was written with the intention of showing the influence of Western music. While not deliberately a "country rock" song, it came out very Byrds-like to my ears. It's simply a gorgeous pop song, and Jones' vocal is absolutely radiant. I love the small touches as well, such as the use of harmonica and handclaps. The song reflects on the way we often measure our lives by the passing of years. As we think back to our triumphs and setbacks, the friends we've gained, and the friends we've lost, it can often get overwhelming. In comparing these constant changes in our lives to the phases of tides, Jones shows great perception of the human experience. The second track "Yesterday of No Return" has a similar theme but a slightly different musical style. Here Jones goes the psychedelic/baroque pop route with definite shades of The Zombies. He really shows his skill for crafting songs built on a foundation of melody. This is a pretty little number with a hopeful message about leaving the past behind and moving towards a brighter future.

For this latest single, Jones has expanded the audio package with demo versions of both tracks and a full podcast explaining the entire story behind the creation of "Like The Tide". He takes you through the conception, writing, demoing, and production of the song. I found this account fascinating, and I will be thrilled if Jones continues to do this with future singles. It really gives you an insight into his creative process and the way one little idea can blossom into a fully realized pop song. Having been an '80s kid, I fondly recall staying up late at night and listening to syndicated "rockumentaries" where recording artists would talk about their craft and the inspiration behind their music. The Behind The Tunes: "Like The Tide" podcast reminds me of that. Especially now when the importance of music in our lives has been heightened, this is the sort of thing I really enjoy. I love digging deep into a piece of music and appreciating every marvelous detail. It's tremendously cool to get an artist's personal perspective on a song and what it means to them. 

All three installments in Zach Jones' singles series are available via his Bandcamp. In addition to "Like The Tide", I also highly recommend last fall's "October's Almost Over". It's a beautiful song and a perfect example of what all "soft" rock should aspire to be. Let's hope that there any more singles to come in this series!



-L.R.

https://zachjonestunes.bandcamp.com/album/like-the-tide-yesterday-of-no-return 
https://www.facebook.com/ZachJonesTunes/ 
http://www.zachjonestunes.com/ 

Nato Coles and the Blue Diamond Band/State Drugs - split

We've been waiting how long for new music from Nato Coles and the Blue Diamond Band?! Numbers don't lie: it's been five and a half years since Promises To Deliver came out. Promises To Deliver has since become my most listened-to album of this decade, and I've found myself starving for new material. Well today I finally eat, and I must say the eating is good!

Taken from the same 2017 recording sessions that produced the band's forthcoming album (yay!), "Dangerous" and "Midnight In Memphis" represent a truly triumphant return from Nato and company. Seriously: if two songs this good did not make it onto the album, I can't wait to hear the songs that did! This pair of tracks would have made a hell of a 45, and perhaps someday it will. But for now these tunes come to us on cassette - one half of a split release with State Drugs out now on Motorcycle Potluck Records. Honestly, State Drugs are a band I would otherwise not be writing about. Self-described as "grown up punk", this Denver foursome is pretty much exactly that. The group plays a melodic and somewhat mellowed-out brand of punk music with ultra-sincere vocals. You might have called this "emo" 15 years ago. But given the unfortunate evolution of that particular term, I'd say "grown-up punk" is far more fitting. On the band's three contributions to this split, what struck me most were the lyrics (which are excellent) and the lead guitar work (also excellent). And the songwriting is definitely solid. I'm not much of an authority on modern-day post-hardcore, but State Drugs sound pretty good to my ears.

Both tracks on the Nato side of this split run well past four minutes - but that's hardly uncharted territory for the Blue Diamond boys. "Dangerous" is vintage fare for this group - a soulful, anthemic rocker with lyrics so epic that I just might say Nato has written his own "Born To Run". Check it out:

"Dangerous stakes and gambles/
If we leap we better never ever ever look down/
There’s no tomorrow in this apocalypse of hearts/
So darling … what do you wanna do now?"

All in all, "Dangerous" has the makings of a classic Nato Coles and the Blue Diamond Band number - powered by an impassioned vocal, Luke Lecheler's hot work on keyboards, and a knockout guitar solo from Sam Beers. And how often do you hear a nearly five-minute song that leaves you wishing it were longer?! "Midnight In Memphis" is not a Bette Midler cover but rather a Blue Diamond Band live favorite that has finally been committed to tape. Without a doubt, this is one of the best songs I've ever heard about the often lonely life of a touring musician. This one's a straight-up ballad. There's nothing fancy going on musically, allowing the song to be driven by Nato's words and voice. Here he really shines as a storyteller and poet, and it's damn near magical when he sings the lines "If I close my eyes/ I can hear the river washing them lonely souls down". A really well-done ballad is hard to pull off, but Nato and the boys may have reached an all-time high note with "Midnight In Memphis". Those lyrics are just magnificent, and this song absolutely transports me to the scene it depicts.

Even if Nato Coles and the Blue Diamond Band weren't already one of my favorite bands on Earth, "Dangerous" and "Midnight In Memphis" would have made me an instant fan. I figured the band's first new material since 2013 would be impressive, but this is beyond even what I was expecting. I am so stoked for the new album!



-L.R.

https://motorcyclepotluckrecords.bandcamp.com/album/nato-coles-and-the-blue-diamond-band-state-drugs-split 
http://natocolesandthebluediamondband.blogspot.com/ 
https://www.facebook.com/natocolesmusic/ 
https://natocoles.bandcamp.com/ 

Beebe Gallini - "East Side Story" b/w "The River Flows"

A lot has happened since I first reported on Beebe Gallini back in those innocent times of 2016. The band has gone through some lineup changes, and its fine debut recording has mysteriously disappeared from cyberspace. The wonderful news is that the band now has a really spiffy web site and has just released its first single that you can listen to on a record player! The always amazing Miss Georgia Peach is still out front on guitar and vocals, and boy is she sounding great! Our man Travis Ramin, who needs no introduction, is now on lead guitar. Amy Larson Pearson (Brits Out of America, Strumpet, Mexican Taxi, Brownstar) is on bass, and Chris Audette (Karma Sluts, The Goochers, Devil's Kettle) is on drums. So what we have is a new lineup but still the same Beebe Gallini. If you're in the vicinity of the upper Midwest and want to catch some goodtime garage rock with soul and girl group inspirations, this band needs to be on your must-see list.

I like this debut single because it highlights the band's dual mastery of crowd-pleasing covers and first-rate original songs. A-side "East Side Story", of course, was the first regional hit for a fella named Bob Seger way back in 1966. Beebe Gallini's version here is mostly faithful to the original, but Georgia's powerhouse vocal definitely adds a lot. This is some straight-up dirty garage rock to get you up and moving, and that guitar solo is wicked! On the flip, "The River Flows" is an original number penned by Amy Larson Pearson. It really slows down the tempo and works the band's soulful side. This is a really unique sounding song for a garage band - almost like a psychedelic spiritual or something like that. The band shows off some hot chops, and I believe every word of that vocal. The song is so well-written that I wouldn't have argued if you'd told me it was some long lost gem from 1967. But that's essentially the appeal of Beebe Gallini - they make '60s covers sound fresh and write original songs that sound like they could be '60s covers! I highly recommend this single and also suggest perusing the band's web site. I love that they're selling Beebe Gallini pom pom hats - truly a brilliant idea for a band based in frigid Minnesota!

$1 gets you the digital version of this first single from Beebe Gallini. Buy the actual record, and you also get a download card for a couple bonus tracks! Either way, it's a win for everyone. Dance!



-L.R.

https://travisraminproducer.bandcamp.com/track/eastside-story 
https://www.facebook.com/WeAreBeebeGallini/ 
http://beebegallini.com/

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/

Sheer Mag - Need To Feel Your Love

It has been nearly three years since I last reviewed Sheer Mag. It wasn't that I didn't like the band's last two EPs. It was just that I witnessed a number of massive publications (Rolling Stone, Spin, The Guardian, NPR) expounding on the merits of those releases and didn't think myself worthy of adding anything of value to the conversation. But with the arrival of Sheer Mag's debut album Need To Feel Your Love, I concluded that I couldn't possibly not write about it. It's absolutely one of the best records of the year so far. And it solidifies Sheer Mag's position as one of my favorite bands. If I'm not going to write about my favorite bands, then what in the hell is this blog for?!

With Sheer Mag compiling all three of its brilliant EPs onto one collection earlier this year, the stage was set for the Philly outfit to turn a page on its proper debut LP. Sure enough, the band resisted any temptation to pad the new record with re-recordings of old songs. The previous output had established a clear musical identity: DIY punks with a fondness for '70s rock riffs, scuzzy production, and traditional pop song structures, fronted by a fierce powerhouse of a singer. That was merely a jumping-off point for Need To Feel Your Love - a debut album that finds Sheer Mag taking plenty of chances and delivering what just might be the next great rock record. Rock n' roll and punk remain major parts of the equation, but soul and pop loom just as large on these 12 tracks. "Meet Me In The Street" takes the band's love for arena rock way over the top and straight into '80s metal territory. But if you dismiss this opener as big dumb rock, you're missing out on an urgent rallying cry for resistance to oppression and fascism. Hearing "Expect The Bayonet" infuse a soulful pop song with a similar sentiment, I can't help but be reminded of my favorite band of all-time, The Clash. While any musical similarities are slight at best, Sheer Mag is definitely a band that has taken up the fight against injustice all over the world. And just as it was with The Clash, Sheer Mag offers up music that is every bit as compelling as its message. "Meet Me In The Street" is the perfect anthem for our times precisely because it's transcendent rock n' roll above all else (Imagine The Alarm's "68 Guns" if it rocked like an AC/DC song!). And while tracks like "Suffer Me" and "(Say Goodbye To) Sophie Scholl" have very profound things to say about the importance of standing up for what's right, they would not resonate nearly as strongly if they weren't such fantastic songs. "(Say Goodbye To) Sophie Scholl" might be a new high water mark for Sheer Mag - an album closer that leaves a lasting impression and will surely compel a great number of people to research the life story of its subject.

Of course there's also that other side to Sheer Mag. There just aren't many bands better at turning out the kinds of love songs that truly hit you. If you've ever longed for someone who's far away or far gone, if you've ever lost all hope that that certain special person would stop stringing you along, if you've ever found yourself dizzied and intoxicated in the throes of new love, this is a band that ought to speak to you. It's not just the lyrics (which are great) but also the way Tina brings them to life - her voice so full of fire yet still capable of incredible tenderness. And while by no means do I think the band is courting a mass audience, I wouldn't put a whole lot of limits on who might enjoy this album. "Just Can't Get Enough" recalls some of the power pop moments of the band's past, only cleaner and more accessible. "Need To Feel Your Love" and "Pure Desire" are surprisingly successful steps into funk/soul/disco territory. "Milk and Honey" is pure pop without apology. "Until You Find The One" is stripped down to almost nothing but pure despair - like many of the best Replacements ballads.

I would urge all of you who are Sheer Mag newbies to check out the compilation album first. If you dig it, then don't hesitate to dive into Need To Feel Your Love. Sheer Mag is certainly the "biggest" band I've touted in a very long time. But I will never hold critical acclaim against any band - especially one that never asked for it in the first place. I'll never understand people who complain about say, Rolling Stone only writing about crap bands and then still complain when they do feature good bands. Shouldn't we wish our favorite bands all of the success in the world? Sheer Mag is so unconcerned with self-promotion that it isn't even on social media. These five individuals have a built a following the old-fashioned way: by going out night after night and performing their hearts out for the people. They offer hope for all of us who believe that rock n' roll still has the power to change lives and perhaps even the world as well. To dismiss them because they've played Coachella and performed on national television would be the worst kind of cynicism. Yes, great bands still exist. And sometimes a lot of people like them. That sure sounds like something worth celebrating.



-L.R.

https://sheermag.bandcamp.com/ 
https://staticshockrecords.bandcamp.com/album/need-to-feel-your-love 

Debut album from Shanda & the Howlers!

Here we go with what ought to be THE summer album of 2017! Shanda & the Howlers are a self-described rhythm & blues revivalist band. Perhaps that brings to mind cruise ship/wedding reception/tribute act shtick. Well forget that, because Shanda & the Howlers are the real deal! The band's debut album Trouble is out on the ever-dependable Rum Bar Records, and it's flat-out terrific from start to finish. What separates Shanda & the Howlers from the pack is that although they can certainly deliver crowd-pleasing covers in their live sets, their original material is every bit as good. Trouble sounds less like an homage to '50s/'60s soul and more like the genuine article. If Malibu Lou had told me he obtained the masters from vaults that were sealed 55 years ago, I would have had no reason to disbelieve him!

No doubt the first thing you'll notice about Shanda & the Howlers is the remarkable voice of Shanda Cisneros. She's a dynamite lead singer and surefire future star. In a lesser band, her powerful pipes would completely steal the spotlight. But when you put her out in front of the Howlers, the marriage of voice and music could not be more perfect. This is how you do it, man: back a great singer with a super-tight band and just let it roll! If I didn't already know that Luke Metz was in The Heartdrops back in the day, I would seriously consider that he and Keith Alcantara might have time traveled from the '60s after laying down the rhythms for numerous Stax Records recordings. And Micah Lapping-Carr totally kills it on saxophone!

As a huge fan of classic soul music, I'm always delighted to hear such a timeless style kept afloat by new bands writing original material. Trouble is an album steeped in a love not just for Stax/Motown soul but also the blues, jazz, and early rock n' roll that preceded it. By all means, this is music you can dance to all night long. But if you're more in the frame of mind to quietly ponder past heartbreaks and love gone bad, several of these songs will hit you hard. "Keep Telling Me" is an instant party starter, sounding like what might have happened if Etta James had sung lead for Ray Charles. And once the Howlers come on like Otis Redding's backing band on "She Don't Want A Man", there's no turning back. By the time you get to the chorus, the song's already stuck in your head and you just know you need to own the whole album. Covering everything from dance-floor shakers ("Don't Need Your Love") to bluesy rockers ("Don't Wait Up") to gritty R & B workouts ("Mind Made Up"), Trouble is consistently pleasing and never repetitive. And "Born With A Broken Heart" is simply stunning - proof that what really makes a great ballad is a vocal that you can truly feel deep down.

As you may or may not know, Rum Bar Records had its origins under the name Melted Records back in the '90s. The Heartdrops were one of the first bands Lou worked with, and now we come full circle with Luke Metz's current band joining the Rum Bar family. If label mates The Connection are making a good case that the best new rock n' roll ought to sound like old rock n' roll, Shanda & the Howlers are doing the same for soul music. This is one kind of trouble that you best not avoid!



-L.R.

https://rumbarrecords.bandcamp.com/album/trouble
https://www.facebook.com/shandathehowlers/
https://www.facebook.com/RumBarRecords 

Introducing Beebe Gallini!

Hello, world! Meet Beebe Gallini - your new favorite garage/soul girl group! Formed by longtime friends Sally Sweet (The Blue Up?, The Cave Gurls, Runes Av Vaskeri, Sally and the Sallycats) on organ and Lynn Zecca (Moody Daughters, Kinda Kinky) on bass, this Twin Cities foursome is rounded out by Emily Cahill Ruiz (The Jim Ruiz Set, Walker Kong and the Dangermakers, Wild Things, The Latchhook) on drums and the fabulous Miss Georgia Peach (The Gloo Girls, Speedway, Rhinestone Chassis, The Short Fuses, Nikki Corvette and the Stingrays) on guitar and lead vocals. That's one heck of an impressive lineup, and the band does not disappoint! The original Beebe Gallini may have been a real piece of work, but her rock n' roll namesakes just want to show you a good time!

Beebe Gallini formed in January of last year - cultivating a live repertoire focused on garage, girl group, mod, and bubblegum favorites of the '60s. The band sticks to that niche on its debut album Need All The Help I Can Get. These ladies tackle (mostly) covers of soul classics, garage rock obscurities, and girl group standards - paying homage to the original source material while also putting their own signature on it. MGP is a total powerhouse on lead vocals, and this band suits her talents so well. If you don't make a regular practice of dancing around your house like a maniac, this release just might compel you to start! And ya gotta love that organ! Standout numbers include the Lee Hazelwood penned title track (first recorded by Suzi Jane Hokom in 1966), the Ohio Express/Rare Breed shaker "Beg, Borrow, and Steal", O.V. Wright's "That's How Strong My Love Is" (famously covered by both Otis Redding and the Rolling Stones), Lesley Gore's 1965 B-side "No Matter What You Do", and The Equals' should-have-been smash "Softly Softly".

Need All The Help I Can Get was mixed by the great Travis Ramin, and it's a name your price download over at his Bandcamp page. If you've played your Girls In The Garage and Nuggets compilations to death, Beebe Gallini is definitely the band for you. Who says that nothing good in life is free?!



-L.R. 

https://travisraminproducer.bandcamp.com/album/beebe-gallini-need-all-the-help-i-can-get 
https://www.facebook.com/Beebe-Gallini-989988974348602/ 

Unfinished Business: Royal Headache's High

Concluding my series of posts on releases I should have reviewed in 2015, I take a look at a record that just might have been my 2015 album of the year if I'd only heard it sooner. Royal Headache's sophomore LP High is a rare case of the mainstream press (NME, Spin, Rolling Stone, The New York Times) actually going nuts for an album that isn't total shit. How about that! Arriving four years after the group's acclaimed debut album, High found Royal Headache making the leap from a very good band to a genuinely great one. These Aussies did not veer far from their signature blend of garage-punk and soul, but they stepped up the songwriting and production in a major way. High delivers one stunning song after another, and Shogun is a stone cold star on lead vocals. By turns reminiscent of the Buzzcocks ("Another World"), The Reigning Sound ("Need You"), The Replacements ("Carolina"), and the New Wave of New Wave ("High"), these songs are a wonderful mish-mash of everything I've ever loved about punk, soul, garage, indie rock, and Brit-pop. Seriously: how many bands are capable of both the '77 punk adrenaline of "Electric Shock" and the brilliant blue-eyed soul balladry of "Wouldn't You Know"? No "best band on earth" conversation is complete at this point without mention of Royal Headache. There were a number of albums from 2015 that I expect to be listening to for years to come, and High is definitely one of them.

 
-L.R.

https://royalheadache.bandcamp.com/ 
http://royalheadache.com.au/ 
https://www.facebook.com/pages/Royal-Headache/136799649689670 

Another great album from Zach Jones!

Out of all the amazing singers, songwriters, and musicians I've had the privilege of writing about over five hundred and some posts, Zach Jones has got to be one of the two or three most talented. His 2013 album The Days is one of the true pop masterpieces of recent memory, and he's followed it up with the stunning Love What You Love. Stylistically this release is somewhat of a return to Jones's power pop roots following the soul and baroque pop turns of recent albums. But more than anything else, Love What You Love just sounds like a Zach Jones record. Regardless of which musical influences are most palpable, you can count on songs built on a foundation of melody. And that voice? Wow!

Jones, a Maine native now residing in Los Angeles, recorded Love What You Love in his apartment. He pretty much did it all: singing lead and backing vocals and playing guitar, bass, and piano. Yet even without the deliberate stylization of The Days, Love What You Love manages to evoke that same classic early '70s pop-rock sound. It's a recording as warm and sunny as California itself - rife with gorgeous vocals and truly exquisite melodies. And again, Jones has crafted a set of songs unified by a singular theme. Love What You Love is essentially an album about struggles and setbacks in life - and the good that can come from shining a positive light on such experiences. Fortunately, these lyrical ambitions are not wasted on mediocre songs. Jones has really outdone himself with these 10 tracks - delivering some of the most irresistible hooks and memorable tunes of his life. If you heard the first three songs and assumed this was some '70s singer/songwriter's greatest hits collection, I wouldn't blame you!

By design, Love What You Love has a little something for everyone. There are a number of songs that would not sound out of place on The Days, while elsewhere Jones indulges his love for everything from acoustic soft rock ("Song In The Sunshine") to '70s "AM gold" ("Away From You") to sultry rock/soul ("Lucky One") to straight-up power pop (the fantastic "Some Other Day"). Kicking off with the sheer majesty of "Everything's Fine" and unassailable '67/'68 Kinks stylings of "Hate What You Hate", this album starts off strong and continues to delight to the very end. And the song sequencing is perfect - spreading out the handful of ballads to ensure that the album never loses steam. The beautiful "Nothing's Changed", for example, has an even greater impact sandwiched between the record's two hardest-rocking tracks. And given Jones's history of exceptional album closers, it's no surprise that "Out On The Town" leaves a dramatic final impression.

Zach Jones has been remarkably prolific since going solo five years ago. Love What You Love is already his fifth album, and essentially it brings together the best qualities of the previous four. Even with a home-recording approach, he proves he can still turn out radio-worthy pop songs along side sophisticated works of melodic beauty. Without a doubt, he's one of our finest present-day songwriters. If you grew up on the timeless melodies of the '60s and '70s and find that today's music leaves much to be desired, throw some love in the direction of Zach Jones.



-L.R.

https://zachjonestunes.bandcamp.com/album/love-what-you-love
http://zachjonestunes.com/
https://www.facebook.com/ZachJonesTunes

Jenny Dee is back!

You may recall my review of Jenny Dee & The Deelinquents' most recent single, "Don't Tell Me". In what has been a truly phenomenal year for music, "Don't Tell Me" is one of the best singles I've heard all year. So it's hardly surprising that Jenny, Ed, and the gang have now delivered a full-length album that's also one of the year's finest. What I enjoy about this album is that it seamlessly combines every phase of Jenny Dee's musical progression into one delightful and unified package. Given that this encompasses everything from Motown & girl group inspired R & B to rootsy rock n' roll to turn of the '80s new wave pop, Electric Candyland can be counted on to offer plenty of variety. Yet it all flows together beautifully - a testament to Jenny's compelling vocal presence and formidable songwriting chops.

About half of Electric Candyland carries on in the direction of recent singles - suggesting what Blondie might have sounded like if they'd recorded with Jeff Lynne for the Xanadu soundtrack. Ed Valauskas is a truly amazing producer, and his skillful integration of strings, synthesizers, and lush background vocals is nothing short of majestic. If you liked the "Getaway" and "Don't Tell Me" singles, you'll be happy to know that both songs reappear here along with like-minded tracks such as "Bite Your Tongue" and "Livin' Alone". Yet by no means does it seem like you're listening to a different band when the action shifts to upbeat rockers like "Lookin' For Clues" or show-stopping soul numbers such as "Wake It Up". If there's one thing that unifies the different musical eras and styles that inspire Jenny Dee, it's the importance of great singing - both lead and backup. And this album is loaded with great singing. There aren't a whole lot of lead vocalists today who can hold a candle to the likes of Gladys Horton or Debbie Harry. But Jen D'Angora is definitely one of them. Listening to the stunning doo-wop ballad "That Moon Was Low", it's easy to understand why Graham Parker gave her that song to record.

How many times have you heard a band roll off a hot streak of singles, only to disappoint when it was time to make an album? Jenny Dee & The Deelinquents have avoided that fate, and it's no accident. Electric Candyland supplements a wealth of existing material (five of the six single sides are on the album) with some fantastic new songs. And it doesn't hurt that The Deelinquents are a red-hot band! This is not really a "garage" album or a "soul" album or a "new wave" album. It's a Jenny Dee album - and a worthy purchase for anyone who appreciates great music of all kinds.



-L.R.

http://jennydee.bandcamp.com/album/electric-candyland 
https://www.facebook.com/jennydeemusic 
http://jennydeemusic.com/ 

Meet Scantron!

Scantron - a truly excellent band from Delaware - should not be confused with Scranton, Pennsylvania - birthplace of Delaware senator turned Vice President Joe Biden. Keep this in mind when conducting Google searches. Sometimes spelling makes all the difference. And while I do, as a lifelong resident of the Keystone State, have a certain fondness for the great city of Scranton, at this point I'm more about Scantron. The Bear, Delaware trio recently issued its second EP Palamino Blackwing - an all-analog mash-up of R & B, soul, and '60s garage rock that's been getting steady airplay in my man cave for over a month. This thing is flat-out hot! And considering that I spend half my time listening to punk and rock n' roll and the other half listening to classic soul, it's pretty awesome to hear a band combine both so successfully.

Scantron is Jimmy Scan, Billy Tron, and George Murphy (from Randy America's Pike Creek Pinups and the almighty Keefs!). The band has gigged extensively throughout the Northeast, and that really shows in its music. You can tell that these three are seasoned veterans of the bar/club scene. Although if I didn't know any better, I would have thought you were talking the bar/club scene circa 1966! "Am I Wrong" is a jangly mid-tempo shaker that will have you tapping your feet and humming along. But it's "Sad Parade" that really shows what Scantron is all about- mixing fuzzy guitars and driving organ with a knockout chorus that brings to mind Motown Records and '60s girl groups. In the way that classic garage and soul influences come together with timeless pop songwriting, I can't help but be reminded of bands like the Reigning Sound. "Sad Parade" is a stone cold hit! And I love that duel organ/guitar solo!

On the heels of "Sad Parade", Scantron proceeds to bring it home in style. "As Long As There's Enough" is throwback Stax soul replete with a full horn section - and hearing the production you'd swear this track was recorded with some big shot producer at a major studio. It just sounds so good - a tribute to the band's excellent self-production and a fine mastering job by Paul Leavitt at Valencia Studios in Baltimore. And then "Shot Down" is a GREAT cover of The Sonics' 1965 B-side! If The Sonics took the inspiration of Little Richard and transformed it into proto punk rock, here Scantron takes a Sonics classic and makes it sound like a vintage Little Richard cut! Certainly back in the golden age of rock n' roll and R & B, cover songs were an important part of just about any band's repertoire. It's great to see Scantron keeping that tradition going!

With a lot of garage/soul bands, there seems to be more emphasis on the former element than there is on the latter. But Scantron has the perfect mix of garage and soul. And while they've got the formidable bar band chops you want from a live rock n' roll unit, they add a songwriting prowess and stylistic authenticity that set them apart on record. Whether you're into today's garage scene or are an old school soul freak like me, this is a band you've got to check out!



-L.R.

http://scantronmusic.bandcamp.com/album/palamino-blackwing-ep
https://www.facebook.com/scantrontheband  

Meet The GTVs!

Sam Steinig, who for 19 years led Philly garage greats Mondo Topless, is back with another killer band. The GTVs - featuring Steinig on organ and vocals, Pat Wescott on guitar, Scott Galper on drums, and Jude Dandelion on bass - have just come out with their debut album on the Italian label Teen Sound. And while Steinig's work on the Hammond organ is unmistakable (and marvelous!), The GTVs are by no means a carbon copy of Mondo Topless. The GTVs have more of a Stax soul based sound - think less Sonics and more Booker T and the M.G.s. That requires a hot band to pull off that kind of sound - and these fellas are very much up to the task. Galper and Dandelion are a perfectly in sync rhythm section, and Wescott's solos are out of this world. Yet The GTVs are still very much a true garage band - playing with energy and grit and never allowing their considerable instrumental prowess to devolve into "jamming".

Nearly half of the tracks on Sh'Bang! are instrumentals, and the band's choice of cover material really makes it clear where The GTVs are coming from. They take on Booker T.'s "Be My Lady" (done in the style of The Artwoods' cover version) and The Martinis' 1967 single "Bullseye". They also cover the old Ray Charles favorite "You're Just About To Lose Your Clown" (quite well, I might add!). And while original instrumental selections like "RnBnD" and the dynamite title cut are probably the album's high points, the vocal tracks are no slouch either. "Walk Right Up To You" is a premium shaker that's sure to get you up and dancing, and I hear echoes of The Animals on the soulful ballad "Pull You Down Below".

True to the nature of a band that's best experienced in a live setting, The GTVs aren't trying to wow you with their technical proficiency. Of course they can play, but it's more about having a good time and feeling the groove than it is about showing off. And it's just so much fun! If you loved that slice of '60s garage rock that was heavily influenced by American soul music, Sh'Bang! will take you back to your happy place. As a fan of this very particular genre, I've got to say that The GTVs really nail it. To call them "revivalists" would suggest that this sort of music went away in the first place. I prefer to think of them as keepers of the faith - and they do their musical heroes proud!



-L.R.

http://teensoundrecords.bandcamp.com/album/gtvs-shbang
https://www.facebook.com/TheGTVs
http://thegtvs.com/