Tag Archives: rockabilly

Michael Toland: Rockin’ Is Ma Business Pt. 3

ht_edu

And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock, and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. Go HERE to read Dr. Denim’s first installment of the series, and HERE for Pt. 2. Above: No, that’s not the Runaways ya dummy – it’s Heavy Tiger, gettin’ ready for some heavy pettin’. (FYI: links to key audio and video tracks follow the main text.)

BY MICHAEL “DENIM” TOLAND

Wyldlife-Digital-Cover

Wyldlife smartly has a boot in two camps. Based in NYC, the band has a firm grounding in the glammy proto punk and roughhewn power pop that emanated from its city back in the ‘70s. When it came time to record its second full-length, however, the group decamped to Atlanta, home of rising pop & roll saviors Biters and their brethren, and the joie de vivre of recording in a sympathetic environment certainly makes its impression. Out On Your Block (Wicked Cool) doesn’t so much veer from one stylistic variation to another so much as cram them together, powering the singalong choruses of “Keepsake” and “Bandita” with the reckless energy of a Mercer Arts Center freakout. The band zooms through the tracks like its members mistook amphetamines for sugar pills in their morning coffee, but never sound out of control – tight but loose in the grand rock & roll tradition. Sounding for all the world like a mind meld of the New York Dolls and the Plimsouls, Out On Your Block reeks with the pure joy of taking smartly crafted tunes and making a big-ass racket.

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Seattle’s Cheap Cassettes apply similar makeup to their boyish faces on their debut LP All Anxious, All the Time (Rum Bar). As leader of the long-gone Dimestore Haloes, frontguy Charles Matthews has a long history of banging out tuneful constructions with bullshit-free flair, and he continues his good work on pleasure-button mashing popsters “Get Low,” “Big Dumb Town” and “My Little Twin.” Maine-to-Spain transplant Kurt Baker adds a bit of Detroit power and L.A. flash to a similar recipe on Shot Through the Heart(Rum Bar), the first full-length from Bullet Proof Lovers. That doesn’t mean power pop hero Baker (joined here by various Spanish r’n’r luminaries) has suddenly gone hard ‘n’ heavy, but it does give “On Overdrive” and “Heart of Stone” a fist-pumping, lighter-waving rush and “All I Want” and “Take It or Leave It” a punky, street rock attack. Unusually for bands like this, the second half of the record is actually stronger than the first.

Heavy Tiger - Glitter - Artwork

With a sly grin and blazing attack, power trio Heavy Tiger blasts out of Stockholm with Glitter (Wild Kingdom). The colorful hooks of ‘70s glam rock entwine with the no-nonsense charge of mid-’70s hard rock, before being violated by late ‘70s punk. Riding Maja Linn’s gritty vocals (not unlike Muffs’ leader Kim Shattuck’s) as much as the big-ass guitars, “I Go For the Cheap Ones” and “Feline Feeling” deliver an irresistible opening one-two punch. But the band keeps the hits a-comin’, whether it’s more burning rockers like “Keeper of the Flame,” rousing glam rock like “Devil May Care” (written for the band by the Ark’s Ola Soma) or loud power pop a la “Starshaped Badge and Gun Shy.” The glitter in the album’s title dusts denim vests and ripped jeans.

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Back in the bad old days of the late ‘80s, glammed-up quartet Enuff Z’nuff got shoved into the hair metal ghetto, which might’ve been fine had the band gotten the same hits and success as its West Coast peers. (Indeed, it’s an association the band has never shunned.) Unlike its mousse-abused pals, though, the Chicago band fell more heavily on the Cheap Trick and Sweet side of the pop metal street than on the Aerosmith/Starz side. Clowns Lounge (Frontiers) has a few squealing guitar solos, but otherwise leans on vocal harmonies, glittery melodies and big power pop hooks. “Rockabye Dreamland” resembles Jellyfish more than Def Leppard, while “Back in Time” and “Radio” sound more like homeboys Urge Overkill than Aerosmith. It hearkens back to the band’s first couple of albums, which is no surprise, given that it consists of songs reworked from the days before EZ’s 1989 debut LP. That means most of the songs feature original vocalist Donnie Vie, which will set OG fans’ rods a-twirl. Then there’s “The Devil of Shakespeare,” which features, as guests, late Warrant singer Jani Lane, Styx guitarist James Young and – as a ringer? – 20/20 co-leader Ron Flynt. Go figure.

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Covers collections usually denote a lack of new material on an artist’s part, regardless of the official line. That said, the Connection has been awfully prolific the past few years and can be forgiven if the urge to hit the studio overtook the effort to write new songs. On Just For Fun! (Rum Bar), the Boston boppers bash through a batch of obvious influences (the Dictators’ “Stay With Me,” Cheap Trick’s “Southern Girls,” Gary Lewis & the Playboys’ “I Can Read Between the Lines,” Dave Edmunds’ “Other Guys Girls”) and left-fielders (George Thorogood’s “Get a Haircut,” the Rolling Stones’ “No Expectations,” Bob Seger’s “Get Out of Denver,” “Streets of Baltimore,” the Harlan Howard song recorded by Bobby Bare and Gram Parsons). The band’s reverence for pre-21st century pop reaches its effervescent apex on a faithfully executed take on Syl Sylvain’s timeless “Teenage News,” its ‘billy and bubblegum delirium right in the Connection’s wheelhouse. A stone hoot, Just For Fun! lives up to its title.

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The Jigsaw Seen draw from many of the same ‘60s and ‘70s touchstones as the Connection, though they’re filtered through such a personal vision that the L.A. act has always sounded unmoored from time itself. That applies even to For the Discriminating Completist (Burger), a collection of singles, EP tracks and alternate mixes of tunes from across the band’s nearly 30-year career. Echoes of the Who, the Creation, the Kinks and the Move resound, but on “Jim is the Devil,” “My Name is Tom” and “Celebrity Interview,” the Seen always sounds most like itself. That applies even to covers of the Bee Gees, Love, Henry Mancini and the Frank Sinatra/Tony Bennett standard “The Best is Yet to Come.”

Stoneage Hearts

The Stoneage Hearts take many of those same influences and beat them with a Nuggets stick, as found on Turn On With (Off the Hip), a reissue of the band’s 2002 debut. The Australian trio’s sugar ‘n’ spice mix of grinning power pop and rough-hewn R&B-flavored garage rock cuts any hint of crap in order to get down to the business of hooks, harmonies and tunes as good as “So Glad (That You’re Gone)” and “Stranded On a Dateless Night.”

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Australia’s Little Murders have prowled the Melbourne underground for nearly 30 years in various incarnations. The product of the longest-lived version, Hi-Fab! (Off the Hip) distills the quintet’s virtues – simple melodies, ragged harmonies, a nice mix of jangle and crunch – in 33 minutes of power pop rush. Still led by plainspoken singer/songwriter Rob Griffiths, the Murders sound comfortable and confident on the sprightly “She’s the Real Thing,” sweet “Merry Go Round” and driving “Out of Time.”

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Perth’s Manikins predated Little Murders, evolving out of the Cheap Nasties, one of Australia’s first punk outfits. (The Nasties also gave us international treasure Kim Salmon of the Scientists, Beasts of Bourbon and Surrealists fame.) From Broadway to Blazes (Manufactured Recordings) collects the band’s entire oeuvre, from demos to singles to self-released cassettes, on two slabs of vinyl, and it’s ninety minutes of power pop perfection. The quartet deftly beats the hell out of melodic sweetness like Bruce Lee fighting a cheerleader, making the winsome “Love at Second Sight” (in two versions), the raw “Street Treat,” the brittle “Losing Touch” and the blazing “Girl Friday” sharp lessons in how to do it right. Melbourne’s Baudelaires keep the Australian garage rock wave flowing with Musk Hill (Off the Hip), a psychedelicized take on three chords and a bunch of youthful angst. Alternating thumping rockers like “Scrapbooker” and “Foxglove” with trippier concoctions like “Whet Denim” and “Snapper Steve” (not to mention a quick dip into the surf music pool with “Life’s Too Short For Longboards”), the young quartet puts the roll back in psych rock.

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Manufactured has also taken it upon itself to rescue a couple more early power pop outfits from obscurity. Smart Remarks may have been the house band at the infamous City Gardens in the early ‘80s, but that was as far as the trio’s notoriety ever got. Too bad – the single and EP sides collected on Foreign Fields: 1982-1984 (Manufactured Recordings) are a delight for fans of the form. The band’s new wavey guitar pop reaches catchy potency on the sparkling “Falling Apart (As It Seems)” and “Mary’s Got Her Eye On Me.” New Jersey’s Modulators hail from the same time period, but let ‘60s/’70s roots like the Hollies and the Raspberries show through any new wave colorization on Tomorrow’s Coming (Manufactured Recordings). That 1984 platter was the trio’s sole LP, but here it’s augmented with a ton of demos, singles and unreleased tracks to grow into a 28-track monster of jangly pop glory.

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The Muffs’ first two albums are masterclasses on melodipunk, and, while not the runaway successes so many of their peers’ records were, still put the L.A. trio on the map. So what happened with Happy Birthday to Me (Omnivore), the band’s third album? Creatively, nothing – the record is, cut for cut, the Muffs’ strongest, a consistently catchy, beautifully recorded and enthusiastically performed set that should have been the apex of the band’s upward arc. Alas, its then-record company Reprise decided to put their resources elsewhere, and the Muffs were dropped right as the album came out. (Despite this, it has never fallen out of print.) Fortunately, it’s back, all the better to enjoy the spice cake rush of “That Awful Man,” “Outer Space” and “Honeymoon,” the winsome midtempo power pop of “The Best Time Around,” “Keep Holding Me” and “Upside Down,” the 6/8 mania of “All Blue Baby,” the raging snot rock of “Nothing” and the snide country rock (?!) of “Pennywhore.” Plus a rare cover of the Amps’ “Pacer,” a batch of demos and the bandmembers’ informative and entertaining liner notes, including leader Kim Shattuck’s song-by-song commentary.

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British guitarist John Hoyles has, to generally excellent results, toiled in the fields of Swedish rock, slinging strings for prog/doom outfit Witchcraft, boogieing spinoff Troubled Horse and glam/power rockers Spiders. For his solo LP Night Flight (Crusher), however, takes more inspiration from punk and pub rock, with no-nonsense songs and maximum production clarity. Outside of the acid folk of “In the Garden” and overtly psychedelic title track, tunes like “Talking About You,” “Before I Leave” and “Minefield” rock righteously and unselfconsciously. Bonus: a cover of former Pink Fairies guitarist Larry Wallis’ “Police Car” that makes Hoyles’ self-professed love of Stiff Records pretty blatant.

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Mark “Porkchop” Holder did time in both blues punk act Black Diamond Heavies (of which he was a founding member) and in the arms of addiction. Free of both, the singer/slide guitarist returns to his hometown of Chattanooga, TN, for Let It Slide (Alive Naturalsound), a set of rocking blues that could only come from someone who’s lived a life on the underside. As such Holder wastes no time with virtuosity or fancy production – he and his rhythm section just crank it up and get down to business with a clearly articulated focus a lot of cracker blues slingers could use. Holder’s lack of illusions about where he’s been and how he got there power the snarling choogle of “Disappearing” and menacing country rock of “Stranger” as much as his raw bottleneck work, and his plainspoken vocals sell every syllable. Rough-and-tumble rambles through “Stagger Lee” and “Baby Please Don’t Go” also prove Holder knows how irreverently to treat a couple of pieces of well-traveled (read: overused) classics without losing touch with their essential spirit. “I’ve got no one but myself to blame!” he shouts during the titanic “My Black Name,” the song most likely to be his “Jumping Jack Flash.” That lack of sentimentality gives Let It Slide the conviction to put it in a different category than the usual flash blues slop.

Evil Twin

Australia’s Evil Twin also uses the blues as a jumping off point on its debut Broken Blues (Off the Hip). No revivalists, this pair – nor do they pay homage, unintentional or not, to the White Stripes or the Black Keys. Instead guitarist Jared Mattern and drummer Chris Beechey blast off from the music’s 12-bar origins into loud, grungy rock that’s beholden more to bands Dan Auerbach and Jack White don’t listen to – nothing sounds like Zeppelin, in other words. Led more by Mattern’s measured singing than overwhelming instrumental bombast, dirty slide pound like “Look Into My Mind” and the title track, snarling boogie like “Motor City” and soulful power balladry (!) like “Slow Dance” sound fresh and exciting, the way new classic rock should.

POWER LP Jacket

Evil Twin’s country band Power might also argue that the blues is at the heart of its sound, but it’s difficult to tell under the punky crust and general mania on its debut Electric Glitter Boogie (In the Red, though originally released in Australia in 2015; the In The Red LP comes pressed on either red or black vinyl). A deliberate nod to Australia’s legendary hard rock acts Coloured Balls and the Aztecs (names not very familiar to Statesiders, though they might know Aztec leader Billy Thorpe’s later AOR hit “Children of the Sun”), the trio goes over the top with raging riffs, gonzo vocals and an air of barely-contained madness. These boys want to rawk, and when they fire up the wild-eyed boogiepunk of “Slimy’s Chains,” the title track or the band’s eponymous anthem, get with it or get the hell out of the way.

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Hailing from Birmingham, Alabama, Heath Green and the Makeshifters holler back to an earlier era, one when British bands like Humble Pie took soul music into harder rock realms than it was logically prepared for. Luckily, the quartet proves itself far less leadfooted than its predecessors on its self-titled debut LP (Alive Naturalsound). Without throwing any accusations of “authenticity” around, it really seems like coming from the American South gives Green a more natural feel for R&B, gospel and the blues, allowing him to fold his pan-seared shout into the Makeshifters’ hard-rocking crash without having to scream to be heard. The fierce pound of “Living On the Good Side,” chunky shuffle of “Secret Sisters” and sanctified soul of “Ain’t Got God” get the balance between tank and testify just right.

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Tom Baker and the Snakes have been one of Boston’s best-kept secrets for a few years now, but with Lookout Tower (Rum Bar), the quintet makes a national splash. Marrying the plainspoken songcraft of heartland rock, the high voltage power of the Motor City and the ramshackle grace of a party-all-night bar band, the Snakes bash out catchy tunes like “High n’ Tight,” “Make It Hurt” and “Needle in the Red” like the Replacements if they’d listened to more classic rock than punk. Three guitars keep the riffs, hooks and jangles churning, and Baker’s ragged-but-oh-so-right voice delivers the exact dose of vulnerable swagger. If you like your rock & roll to worry less about subgenres and more about just getting to the good stuff, Tom Baker is yer man, man.

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The combination of Detroit rock royalty Deniz Tek (Radio Birdman, the Visitors, his various solo bands) and James Williamson (the Stooges, of course) is so fraught with potential it would be almost impossible for it to live up to expectations. On its debut EP Acoustic K.O. (Leopard Lady), the pair neatly sidesteps the ambitions thrust upon them by delivering an acoustic EP of tunes associated with Williamson’s time with Iggy Pop. Tek’s gruff plainspokenness gives “I Need Somebody” and “Penetration” a note of gravitas, and the duo’s take on “No Sense of Crime” pulls out an obscurity that’s right in their wheelhouse. Oddly, though, the highlight is the Tek-less instrumental “Night Theme,” a mothballed tune that scans like the soundtrack to a crime-and-punishment TV show.

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Check out selected audio and video from the records discussed above:

 

Tom Baker & the Snakes – Lookout Tower Bandcamp:

https://rumbarrecords.bandcamp.com/album/lookout-tower

 

The Baudelaires – Musk Hill Bandcamp:

https://thebaudelaires.bandcamp.com/album/musk-hill

 

Bullet Proof Lovers – Shot Through the Heart Bandcamp:

https://bulletprooflovers.bandcamp.com/album/shot-through-the-heart

 

The Cheap Cassettes – All Anxious, All the Time Bandcamp:

https://rumbarrecords.bandcamp.com/album/all-anxious-all-the-time

 

The Connection – Just For Fun:

https://rumbarrecords.bandcamp.com/album/just-for-fun

 

Enuff Z’Nuff – “Dog On a Bone”:

https://www.youtube.com/watch?v=wEQr0axc4lI

 

Evil Twin – Broken Blues Bandcamp:

https://eviltwinrock.bandcamp.com/album/broken-blues

 

Heath Green and the Makeshifters – “Ain’t It a Shame”:

https://www.youtube.com/watch?v=Vo2CELBHB4s

 

Mark Porkchop Holder – “My Black Name”:

https://www.youtube.com/watch?v=YS6miti9XHA

 

John Hoyles – “Talking About You”:

https://www.youtube.com/watch?v=1_d6jcpFoRk

 

The Jigsaw Seen – “Jim is the Devil”:

https://soundcloud.com/burgerrecords/the-jigsaw-seen-jim-is-the-devil-single-version

 

Little Murders – Hi-Fab! Bandcamp:

https://littlemurders.bandcamp.com/album/hi-fab

 

The Manikins – From Broadway to Blazes Bandcamp:

https://manikinsaustralia.bandcamp.com/album/from-broadway-to-blazes

 

The Modulators – Tomorrow’s Coming Bandcamp:

https://themodulators.bandcamp.com/

 

The Muffs – “Outer Space” (live):

https://www.youtube.com/watch?v=JY1vwFdKq5I

 

Power – “Electric Glitter Boogie”:

https://soundcloud.com/powower/electric-glitter-boogie-1

 

Smart Remarks – Foreign Fields: 1982-1984 Bandcamp:

https://smartremarks.bandcamp.com/

 

Deniz Tek & James Williamson – “Penetration”:

https://soundcloud.com/pavement-pr/penetration

 

Wyldlife – “Contraband”:

https://www.youtube.com/watch?v=V4T9BgwCdxU

 

 

Michael Toland: ROCKIN’ IS MA BUSINESS: Blurt’s Rock & Roll Roundup Pt. 2

HOUND GAWD! RECORDS

HOUND GAWD! RECORDS

And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock, and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. Go HERE to read Dr. Denim’s first installment of the series. (FYI: links to key audio and video tracks follow the main text.)

BY MICHAEL “DENIM” TOLAND

As leader of the now-legendary Lazy Cowgirls, Pat Todd created a canon of blazing roots/punk rock & roll that should serve as a textbook for anyone who reveres both Johnny Cash and the Ramones. When the Indiana-born longtime Los Angeleno shifted focus (barely) toward the Americana side of his personality with the Rankoutsiders, he stuck to the same standards – four chords, blasting guitars, a kickin’ rhythm section and more soul than a Baptist church on Sunday. Blood and Treasure (Hound Gawd!), the band’s fourth LP, is another stellar example of Todd’s vision. Jolted by the six-string team of Kevin Keller and longtime foil Nick Alexander, the ‘outsiders rip through blues and ballads, C&W and R&R, with an expertise that should be the envy of bands half their age. Todd’s songs eschew clever wordplay and ironic distance to simply channel the man’s heart from his sleeve to yours, whether he’s fighting bad love (“Tell Me Now,” “I Hear You Knockin’”) or working class despair (“This Counterfeit World,” “Just Another Broken Day”). He won’t give in, though, stating his case most effectively in never-surrender anthems “Stand Up and Sass Back” and “Don’t Be Sellin’ Emptiness.” Blood and Treasure shows Todd and the Rankoutsiders once again reinventing ragged but right by being simply unable to do wrong.

Capsula Santa Rosa

Fronting a freewheeling blend of Detroit hard rock, Nuggets garage punk, dirty Cramps-a-billy and grungy surf, all given an acid sheen, Spain’s Capsula have been blasting away for nearly 20 years to a devoted audience far smaller than it should be. But the Argentina-bred power trio have never let that – or anything, really – get them down, and that same joie de vivre infests Santa Rosa (Vicious Circle), the band’s eleventh album. (Twelfth, if you count its stint backing up Ivan Julian on Naked Flame.) Tempering its live energy a tad (note: if this band comes to a club anywhere near you, do not hesitate), Capsula polishes its songwriting to an even more potent shine, balancing full throttle burners like “Tierra Girando” and “Candle Candle” with midtempo psych poppers “Moving Mutants” and “They Are New Models.” The trio even successfully ventures into ballad territory on “Past Lives.” Proof that great bands can keep getting better. Birth of Joy comes from the same spiritual place as Capsula, but, with the bass replaced by keyboards, trucks in a more expansive sound. Get Well (Long Branch/SPV), the Dutch trio’s sixth album, picks up where its last studio LP Prisoner left off, pushing the psychedelic and jamming tendencies to the fore while not losing the band’s intense rock & roll drive. That proves BoJ equally adept at both short/sharp/shocked bangers like “You Got Me Howling” and “Blisters” and drawn-out epics “Numb” and the title track. Perhaps not the revelation Prisoner was, but a progression, for sure.

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With a name like Dr. Boogie, you’d expect a band beholden to John Lee Hooker, or at least ZZ Top and Canned Heat. In this case, though, you’d be wrong – the L.A. quartet owes its soul to the New York Dolls and the heyday of glam and protopunk on Gotta Get Back to New York City (Dead Beat). “Down This Road,” “Queen of the Streets” and the title track rock hard with that ever-so-tricky mix of Chuck Berry and aggression, while “Really Good Feeling” verges on power pop. The biggest surprise is “Together,” which adds a disco beat and “doot-doot” vocals for a dandy variation on the formula. Boasting a clever, “why didn’t anyone think of this before?” name, Indonesian Junk romps straight outta Milwaukee with an impressive self-titled debut album (Rum Bar). Throwing glam rock, protopunk, power pop and R&B-flavored garage rock into a centrifuge, the trio shakes it all down until it comes out as uncomplicated rock & roll. “Black Hole,” “Little Malibu” and “Indonesia” show off a band that rummages through the past, takes what it wants and leaves the rest to rot. Surprise bonus: a cover of Jayne County’s “Fuck Off.”

Ricky Warwick - When Patsy Cline Was Crazy (And Gu... - Artwork

Though best known for leading U.K. punk & roll band the Almighty and his current frontman position with Black Star Riders (the group that grew out the latter-day revival of Thin Lizzy), Ricky Warwick started banging guitar in imitation of Johnny Cash and Bruce Springsteen. Despite his schedule with the Riders, the Irish native found time to knock out a double album that serves both sides of his personality. When Patsy Cline Was Crazy (and Guy Mitchell Sang the Blues)/Hearts on Trees (Nuclear Blast) ranges from the hard-edged heartland rock of the first half (“Son of the Wind,” “Johnny Ringo’s Last Ride,” “The Road to Damascus Street”) to the mostly acoustic folk rock (“Said Samson to Goliath,” “Disasters,” a cover of Porter Wagoner’s immortal “Psycho”) of the second. Not out of line for a dude whose first professional job was playing second guitar on a New Model Army tour. German singer/songwriter Conny Ochs takes a similar tack on his third solo album Future Fables (Exile On Mainstream), though he prefers to mix his folk and rock rather than segregate them. Fielding melancholy introspection and cautiously optimistic progression, the record sounds like Ochs decided to blend his twin lives as acoustic troubadour and badass rocker, giving “Golden Future,” “Piece of Heaven” and “No Easy Way” a grit most singer/songwriter records rarely achieve.

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If Kiss had succumbed to its 70s glam rock tendencies instead of its 80s hair metal fantasies, maybe it would be half as cool as Watts. The Beantown quartet kicks the requisite amount of gluteus maximus on third LP The Black Heart of Rock ‘N Roll (Rum Bar), happily rebooting riffs from the Stones, ZZ Top and the Sweet as it’s the first time anything like it has ever been heard. “She’s Electric’ and “Strut Like a Champ” brandish serious swagger, “Stage Fright” boogies like Marc Bolan if he’s been born in Texas and “Bye & Bye” reveals the bruised heart under the bravado. If the U.S.A. has ever produced a rock & roll band inhabiting the same dimension as the late, great Dogs D’amour, Watts is probably it.

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Led by singer/songwriter Victor Penalosa – younger brother to Hector of the Zeros and Flying Color, cousin to the Escovedo clan, current drummer for the Flamin Groovies – the Phantoms bop all over the map on their self-titled debut (Rum Bar), from power pop (“Baby Loves Her Rock N’ Roll”) and country rock (“One For the Road”) to snotty punk (“Chump Change”) and no-nonsense rock & roll (“Tears Me Up Inside,” “Ditch Digger”). Add the driving heartland rock of “Two Lane Black Top” and Chuck Berry boogie of “The Ballad of Overend Watts” and it’s a party. The band has a solid grasp on anything that requires a backbeat and loud guitars, while Penalosa’s memorable melodies and appealingly plain singing tie it all together. You can probably be forgiven for casting aspersions toward the Two Tens – after all it’s a co-ed duo with a male guitarist and a female drummer, and debut album Volume (Ugly Sugar) was mixed by Detroit super producer Jim Diamond. But the L.A. act is no White Stripes wannabe – the band is far more enamored of 60s garage rock than Zeppelin blues. All the better to rock sweet pop tunes “Sweet as Pie” and “Watching Me” and pounding thrashers “Life” and “Rush Out” into the dirt.

Connectioncover

Despite coming from Portsmouth, New Hampshire (or maybe because of it), the Connection has established itself as one of the best 60s-inspired power pop bands going via Little Steven-endorsed rekkids like Let It Rock and the stupendous Labor of Love. So it’s a good time to reissue the quartet’s debut New England’s Newest Hit Makers (Rum Bar). Fresh-faced and sparkling, the record gets down to business quickly and efficiently via “Stop Talking,” “My Baby Likes to Rock N Roll,” “I Think She Digs Me” and other nuggets analogous to the Beatles’ A Hard Day’s Night era. Delightful. Seattle’s Navins apply similar energy to power poppy tunes that boast melodies by the jangleful on debut LP Not Yourself Today (Green Monkey). Named after Steve Martin’s character in The Jerk, the band (which includes ex-TAD man Gary Thortensen) certainly exhibits a sense of humor, but is no joke, showing serious craft and heart on the winsome “Oceans,” the jamming “Wallet Full of Signs” and the crunchy “Never Wanted Nothing.”

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Singer/guitarist Eric Knoxx slung strings for rockin’ surf/lounge band the Vice Barons for several years, but finally uncorks his larynx on Saturday Night Shakes (Rum Bar), the debut album from his new outfit the Backseat Angels. With a nod toward the upbeat melodies of old school punk/pop like the Boys and a wink toward the swagger of bubblegum glamsters like the Sweet, Knoxx and co. bang out hard candy delights “Teenage Rock’n’ Roller,” “To Be a Better Man” and “My Baby Wants to Brainwash My Mind.”

LiquidGenerationQtZ

Hailing from Seattle, the town that kicked off the whole garage rock thing back in the 60s with the Sonics, the Wailers and – RIP Jack Ely – the Kingsmen, Liquid Generation takes direct inspiration from its forebears on Quarter to Zen (Green Monkey). Recorded in 1983 and unreleased until now, scrappy snarls like “Hang Up” (a gem from the Wailers’ catalog), “Nothing” (via the Ugly Ducklings) and “¼ to Zen” would’ve landed the band on the Get Hip label and on tour with the Chesterfield Kings had it come out when it should’ve. NYC’s Mystery Lights get even more faithful to the old school on their self-titled debut (Wick) – close your eyes and you’d think this was recorded in 1965. As such, it sounds like a bunch of kids with loud guitars, a handful of chords and a few drugs fueling their rock & roll fantasies. It would almost be too retro for its own good if not for the quality of the songs – the blistering “Melt,” the wide-ranging “Before My Own” and the surprisingly psychedelic “Flowers in My Hair, Demons in My Head” scratch the Nuggets itch as well as anything from the original era.

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The blues is, of course, one of the bigger planks in rock & roll’s platform, and bands will never stop using it as the crux of their raison d’etre. So it is with Jane Lee Hooker. The NYC five-piece takes on everyone from Muddy Waters and Howlin’ Wolf to Ray Charles and Otis Redding on its debut album No B! (Ruf). But since these ladies have backgrounds in punk and hard rock – specifically Nashville Pussy, Bad Wizard, Helldorado and the legendary Wives – they simply can’t help rocking the hell out of the likes of Waters’ “Mannish Boy,” Albert King’s “The Hunter” and Charles’ “I Believe to My Soul.” The band’s rip through Johnny Winters’ “Mean Town Blues” hews far closer to the members’ previous day jobs than anything that came out of Memphis. Whiskey-and-cigs singer Dana “Danger” Athens’ original “In the Valley” fits right in alongside genre classics and deep cuts. Northern Ireland duo the Bonnevilles stick to an original program on Arrow Pierce My Heart (Alive Naturalsound), but also punk up the blues like Chess Records filtered through the Standells. “I’ve Come Too Far For Love to Die,” “The Electric Company” (not a U2 cover) and “The Man With the X Shaped Scar On His Cheek” rock raw and dirty, not a million miles away from what the Black Keys were doing in their early days.

Left Lane Cruiser BIB

For the last decade, Fort Wayne, Indiana’s Left Lane Cruiser has practically defined the idea of punk blues. Beck in Black (Alive Naturalsound), compiled by original drummer Brenn Beck from the albums on which he appears, collects tracks from the then-duo’s earliest days up until right before the band became a trio on last year’s barnburner Dirty Spliff Blues. The Cruiser’s rawboned bottleneck ‘spunk stomps and stammers on “Zombie Blocked,” “Circus” and the mighty “Sausage Paw,” one of six previously unreleased tracks. Shawn James is more of a blues traditionalist than Hooker, Cruiser or the Bonnevilles, but only in the sense of staying acoustic on his latest LP On the Shoulders of Giants (self-released). Wielding a pair of resonator guitars and recording at Sun Studios, the big-voiced Arkansan lays down deep blues like “Back Down” and “When It Rains, It Pours” that would crush boulders if played through a Marshall stack.

Blues Pills - Lady In Gold - Artwork

The blues is more of a feel than a form for international (counting members from the States, France and Sweden) quartet Blues Pills. Second full-length Lady in Gold (Nuclear Blast) finds the band folding in flavors of psychedelic soul into its groovy rawk stew, which suits brassy singer Elin Larsson on tunes like “Rejection,” “You Gotta Try” and “Won’t Go Back” (all hidden in the final third, oddly enough). Ultimately, though, the band is still about fairly frill-less rock & roll – check “Bad Talkers,” “Little Boy Preacher” and the especially catchy title track. Bonus: a menacing, rocking take on Tony Joe White’s “Elements and Things.” Hailing from Sudbury, Ontario, Sulfur City plays groovy blues rock with a political edge on Talking Loud (Alive Naturalsound). With an electric washboard, a powerful howl, a 60s sense of social outrage and a thing for the Devil (who appears in “Johnny” and “Sold”), leader Lori Paradis cuts a striking figure. Aided and abetted by guitarist/co-writer Jesse Lagace, she sometimes lets her band lapse into a Grateful Dead choogle that sucks the energy out of the performances. But when she and the band grit their teeth, via the swampy “One Day in June,” stomping “Tie My Hand to the Floor” and fiery “You Don’t Know Me,” they show a lot of promise.

TheRightHerecover

Remember when alt.country meant more than folk singers with tasteful bands backing them up? The Right Here does. Sounding on debut LP Stick to the Plan (Rum Bar) like the Old 97’s if they’d just come off a particularly debauched tour with Motörhead, the Minneapolis (of course) quartet takes two-stepping melodies and C&W progressions and thrashes the hell out of them while keeping the songcraft intact. From blazing cowpunkers “Til the Wheels Come Off” (which sounds like a classic set-closer) and “Judge Me When I’m Sober” to the tear-in-your-spilled-beer ballads “Drunk and Rolling Around” and “Fall Asleep, Hate Yourself, or Leave,” the Right Here rips and tears at your heartstrings as often as your ears (and your air guitar). Austin’s New Mystery Girl also fields a rootsy vibe on Crawl Through Your Hair! (Gutsy Dame), but calling them just another band of that ilk is a mistake. Singer/songwriter Chrissie Flatt and guitarist Eric Hisaw have deep roots in country and Americana music, but also a smart pop sense and a raw attack, while rhythm section Bobby Daniel and Hector Muñoz did many years with Alejandro Escovedo. Add quality songs like “Stepping On My Toes” and “I’m Not Ready to Let Go” and a rollicking rip through the New York Dolls’ “Subway Train” and you’ve got something more developed than just roots rock.

Kingbees_Big_Rock_OV-177-180x180

The Kingbees were contemporaries of the Stray Cats, but never hit the same heights. That’s partly because the trio simply wasn’t as stylized as Brian Setzer’s crew, and partly because the group’s neorockabilly wasn’t as flashy about its retro stylings. That’s especially evident on second LP The Big Rock (Omnivore), originally released in 1981. Singer/guitarist Jamie James and co. worry less about 50s trappings than in simply continuing the tradition, making streamlined confections of the title track, “She Can’t ‘Make-up’ Her Mind” and covers of Charlie Rich, Buddy Holly and Carl Perkins.

MuffBlonder

On the way to recording their second LP, the Muffs lost rhythm guitarist Melanie Vammen and traded drummer Criss Crass for ex-Redd Kross basher Roy McDonald. The changes did the band good, however, as evidenced by Blonder and Blonder (Omnivore). Originally released in 1995, the record reflected no radical departures from the self-titled debut. Instead the band refined its melodic punk & roll, with sharper hooks, wittier lyrics and a more aggressive attack. (Credit McDonald, whose spirit animal is clearly Keith Moon, at least in part for the latter.) “Ethyl My Love,” “Oh Nina” and “Laying On a Bed of Roses” rock recklessly without ever losing their grip on the hooks, while “Sad Tomorrow” and the waltz-time “Funny Face” demonstrate growing lyrical sophistication. The Doug Sahmish “Red Eyed Troll” and mostly acoustic “Just a Game” show a group growing beyond its self-imposed boundaries. Blonder and Blonder represents the Muff growing from strength to strength. As with last year’s reissue of The Muffs, this edition adds a gaggle of bonus tracks (including the album-worthy “Become Undone” and “Born Today”), informative liner notes from bassist Ronnie Barnett and Shattucks’ song-by-song commentary.

Sleeping_Beauties_PREORDER_-_border_grande

Careening out of control like a bus driven by a tweaker, Sleeping Beauties reclaim punk rock bash ‘n’ crash for a younger generation with their self-titled debut (In the Red). Slavering meat-eaters “Meth,” “Hands” and “Bobby & Suzie” filter garage rock through the prism of ADHD-addled high school dropouts; “Slumber Party” adds a shit-kicking (if barely recognizable) C&W beat. “Merchants of Glue” and “Addicted to Drugs” pass for ballads, with pretty melodies rolled in the dirt and left to dry in the sun – “South Eugene” even goes full on acoustic. The Pacific Northwestern quintet lays claim to real songwriting chops, which means even the most crazed numbers hold up beyond the initial energy rush. Like the long-gone Squirrel Bait drowning in the Johnny Thunders side of its personality, Sleeping Beauties buries a sensitive soul under a nightmare of squalling guitars, blaring vocals and chemically-assisted insanity, and may very well be what rock & roll is all about.

***

Michael Toland also writes about metal for BLURT. Go HERE to read the latest installment of his blog, “Throwing Horns,” in which he covers himself in goat’s blood and genuflects before the likes of Cobalt, Melvins, Death Angel, Candlemass, Dust Moth, Lord Mantis, and more.

 

————-AUDIO/VIDEO———————

 

The Backseat Angels – Saturday Night Shakes bandcamp:

https://rumbarrecords.bandcamp.com/album/saturday-night-shakes

 

Birth of Joy – “You Got Me Howling”:

https://www.youtube.com/watch?v=6F2WG5bos8c

 

Blues Pills – “Lady in Gold”:

https://www.youtube.com/watch?v=W-1hn87q9_8

 

The Bonnevilles – “I’ve Come Too Far For Love to Die”:

https://www.youtube.com/watch?v=rBFEQnIG79Q

 

Capsula – “Dali’s Face”:

https://www.youtube.com/watch?v=rOS_X7rIjmc

 

The Connection – New England’s Newest Hitmakers bandcamp:

https://rumbarrecords.bandcamp.com/album/new-englands-newest-hit-makers-rum-bar-edition

 

Dr. Boogie – “Get Back to New York City”:

https://www.youtube.com/watch?v=vEZbidRpyLc

 

Indonesian Junk – s/t bandcamp:

https://rumbarrecords.bandcamp.com/album/indonesian-junk

 

Shawn James – “Hellhound”:

https://www.youtube.com/watch?v=T1KzScW87ZE

 

Jane Lee Hooker – “Mannish Boy”:

https://www.youtube.com/watch?v=LnRiiJMN3B0

 

The Kingbees – The Big Rock trailer:

https://www.youtube.com/watch?v=UYDXwTWPYDc

 

Liquid Generation – Quarter to Zen bandcamp:

http://greenmonkeyrecords.bandcamp.com/album/quarter-to-zen

 

The Muffs – Sad Tomorrow”:

https://www.youtube.com/watch?v=vsxyaZhdW1s

 

The Mystery Lights – s/t bandcamp:

https://themysterylights.bandcamp.com/

 

The Navins – Not Yourself Today bandcamp:

https://greenmonkeyrecords.bandcamp.com/album/not-yourself-today

 

New Mystery Girl – Crawl Through Your Hair stream:

http://newmysterygirl.com/?page_id=20

 

Conny Ochs – “Killer”:

https://www.youtube.com/watch?v=NMQbWFYY21o

 

The Phantoms – s/t bandcamp:

https://rumbarrecords.bandcamp.com/album/the-phantoms

 

The Right Here – Stick to the Plan bandcamp:

https://rumbarrecords.bandcamp.com/album/stick-to-the-plan

 

Sleeping Beauties – “Meth” (live):

https://www.youtube.com/watch?v=XNKHvBMljFo

 

Sulfur City – “Ride With Me”:

https://www.youtube.com/watch?v=Gk9jZYKXNW0

 

Pat Todd & the Rankoutsiders – “Just Another Broken Day”:

https://www.youtube.com/watch?v=KfM6N5v2f_I

 

The Two Tens – Volume bandcamp:

https://thetwotens.bandcamp.com/album/volume

 

Ricky Warwick – “The Road to Damascus Street”:

https://www.youtube.com/watch?v=npqBrRDEKEs

 

Watts – The Black Heart of Rock-N-Roll bandcamp:

https://rumbarrecords.bandcamp.com/album/the-black-heart-of-rock-n-roll-2