The Upshot: Cyril, Chris, & Co. hit the ignition button and blast off in a spectacular return to form.
BY BARRY ST. VITUS
With the state of decay that rock ‘n’ roll has composted into over the last several years, it’s important to have a touchstone like the Flamin’ Groovies to reboot our brains and remind us what it’s really all about. Since the original lineup formed in ’66, their lineups over the years have seen more changes than Drumpf’s White Power House staff appointments, but, have remained pretty true to their original sound through it all. This point in time finds them still creatively brilliant in both writing and playing. Although ex-Charlatan/Groovie Michael Wilhelm and band co-founder Roy Loney weren’t involved in this latest resurrection, original bassist George Alexander makes the scene on most of the tunes, drummer Victor Penalosa and former member Chris Wilson co-writes about half the numbers with Cyril Jordan, after a 38-year separation. This partnership is where the ignition hits the combustible and blast-off is achieved, and is pretty damned spectacular. Their touring lineup includes bassist Chris von Sneidern and Tony Sales (grandson of Soupy; Tony’s father is Tony Fox Sales of Tin Machine) on drums. After Jordan and Wilson rekindled their friendship in 2013, they started slowly recording tunes at a Sausalito studio, slowly piecing together an album over a 3-year period.
Having been a fan since Sneakers was released in ‘68, I was blown away from the first couple of tunes, and greatly impressed by this latest incarnation. Through the decades, their musical
choices have always been a bit out of sync with the current time period, making them not exactly appealing to the hippies of the late ‘60’s, with songs that sounded like they were lifted from artists of the previous decade, in a period of folk-rock and psychedelia. Plastic Fantastic stays true to their vision, belting out tunes that cover ground remindful of British Invasion bands, classic rock, power-pop, Mod and Freakbeat. There’s even a tasty instrumental thrown in. I can’t let the great cover by Jordan go by without a nod. Jordan drew Mickey Mouse comics at Disney in the ‘80’s, and had hoped to get famous Mad magazine Jack Davis draw a cover for some future project. Davis agreed, but passed away before it came to fruition. Putting rapidograph to paper, he came up with this very serviceable homage to Davis’s 1959 cover for Monster Rally.
The album kicks off with a ballsy, bluesy, Stones-flavored smack-down, “What The Hell’s Going On.” It’s a clear shot across the bow, letting you know that they aren’t screwing around. It also makes for a pretty good anthem for 2017. “The End Of The World” couldn’t sound more Groovies-infused (think “Shake Some Action”) if they had a gun pointed at their head and were forced to clone their signature sound. They dig into the Beau Brummels’ catalog and juice up their classic Mod-ish number “Don’t Talk To Strangers,” really capturing the atmosphere of that time period. Their Flamingo-era flavored “Let Me Rock” shakes things up old-school style and belongs on juke boxes in soda shops everywhere. This is not the ’71 version, but a fresh update. Rock on, indeed!
“She Loves You” and “I Want You Bad” revisit the jangle of “Shake Some Action” and “You Tore Me Down” to lovely effect, making it not much of a stretch for them both to have come from that era. Early Beatles-sound shines through (ala “Long Tall Sally”/”Matchbox”/”Slow Down”) on “Crazy Macy,” thanks to a pounding Jerry Lee beat. This was a single released by the band about a year ago as a tasty appetizer for the upcoming album. “Lonely Hearts,” as the title evokes, is a broody ballad about separation, love lost and hope of reconciliation. “Just Like A Hurricane” rolls in a lot like Ferry’s “Let’s Stick Together” but with throbbing guitars and wah-wah instead of a horn section.
It sounds like all voices are joining in on “Fallen Star,” which locomotes and chugs right along like a freight train, with some fine guitar riffs, fading out with some Byrdsian guitar chimes. I’m endlessly disappointed that bands don’t do more instrumentals, but the band shines through here with “I’d Rather Spend My time With You,” which is about one step removed from a surf number, with a sprinkling of “ahhhs.” Drummer Prairie Prince joins in on drums, along with bass parts laid down by noted producer-archivist Alec Palao. A Byrdsy beginning kicks off “Cryin’ Shame,” a very ‘60’s sound, accompanied with nice harmonies on the chorus parts.
It has to be noted, that even with a pretty amazing catalog on the shelves from decades back, Fantastic Plastic might just be their finest effort. This is the music that stirs your loins and flies in your face like the sweet bird of youth come home to roost. Fingers crossed that this isn’t their Final Vinyl.
DOWNLOAD: “What the Hell’s Going On,“ “End