Category Archives: Rockin’ Is Ma Business

ROCKIN’ IS MA BUSINESS – Blurt’s Rock & Roll Roundup Pt. 7

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, HERE for Pt. 2, HERE for Pt. 3,  HERE for Pt. 4, HERE for Pt.5, and HERE for Pt.6. FYI: links to key audio and video tracks follow the main text. Pictured above: the eternal Suzi “Can the Can” Quatro, aka Leather Tuscadero – accept no subsitute.

BY MICHAEL “DENIM” TOLAND

For some artists, a lack of evolution leads to a long, slow death (and not the cool Flamin’ Groovies kind). Others, however, find their groove and not only stick to it, but make it sound fresh, over and over again. Pat Todd & the Rankoutsiders are one such – the former Lazy Cowgirls leader and his merry crew have stayed in a punk-informed roots rawk lane for over a decade now (longer if you count the last few LPs by the Cowgirls) and have yet to falter. The Past Came Callin’ (Hound Gawd/Rough Trade) maintains the high standard of quality of the quintet’s previous four records, even if its construction is slightly more motley than usual. Though chock full of bristlingly strong new tunes – check “Call You On Sunday Night,” “A New Pair of Eyes” and “The Ballad of Crystal Valladares” for cowpunk done right on – Todd turns his back pages to resurrect some older songs, some going back twenty years.

 

The blazing “Yeah, Ya Had a Bad Night” and “If I Could Only Fly Backwards in Time” and the Cowgirls’ “Somewhere Down the Line” shake off any accumulated rust with ease and sound fresh as daisies. Todd also pulls out some favorites from other folks’ catalogs, including a heartfelt rendition of Stax soul staple William Bell’s “Any Other Way,” an appropriately folky take on the old Texan ballad “Down in Old Boerne” and the acoustically rockin’ “Idle Time,” penned by Sons of Hercules’ Dale Hollon. This typically fine Rankoutsiders album wraps up with “Just Between You & Me” – just Todd, an acoustic guitar, a harmonica and a human soul. 

As one of the few acts that understands how to take inspiration from the sixties without being overtly retro, The Connection has been one of the best power pop/garage rock bands to hit the stage in the last decade. After six albums in eight years, the time has apparently come for the inevitable solo albums. Lead singer Brad Marino weighs in with Extra Credit (Rum Bar), a collaboration with Rum Bar labelmate and Connection bandmate Kris Rodgers and songwriter Michael Chaney. Clearly Marino’s apples don’t fall far from the tree – though perhaps a hair poppier and less aggressive than the Connection’s work, “Don’t Do the Crime,” “What Comes Naturally” and “Fit To Be Tied” would fit right in on one of that band’s better records. (Note: the CD we received lists four bonus tracks on the cover, but they’re not on the actual disk.) Marino’s  songsmithing partner Geoff Palmer, however, adds an 80s punk/pop vibe to his solo debut Pulling Out All the Stops (Rum Bar). Aided by various former and current Connections (including Marino and Chaney), Palmer puts an overt 60s spin on the crunchy sweetness of bands like All and the Descendants with tongue-in-cheek sugarbombs like “Everything is Cool,” “All the Hits” and “I Like Murder Too.” 

Speaking of the sixties, the career of Richard X. Heyman goes back to that decades via still-going New Jersey rockers the Doughboys, so when he draws on that era for inspiration, it’s helpful to remember that he’s a first-gen practitioner. That said, that sound is only as good as its timelessness, and the singer/songwriter/multi-instrumentalist hits that note squarely on his twelfth and latest album Pop Circles (Turn-Up). From the folk-rocking “Upside and Down” and the creamy “As Love Would Have It” to the crystalline jangle pop of “Guess You Had to Be There” and the melodic aggression of “Action Screams Louder Than Words,” Heyman makes the art of catchy power pop seems ridiculously easy. No innovation here, but pushing the envelope isn’t nearly as important on this record as heartfelt craft.

Austin’s intrepid Ugly Beats have similarly never let their sixties obsessions hold them back. On fifth album Stars Align (Get Hip), the quintet pens a typically winsome set of melodic pop rockers that are much Yellow Pills as #Nuggets#, highlighted by the jangling “All In,” chugging “Take Your Time” and hopping “Boy, You’re in Love.”

 

Milwaukee’s Indonesian Junk keeps one foot in street-smart, sleazy glam and the other in bar band power pop on its third LP Spiderbites (Rum Bar), just as it has on its prior albums. While its attitude remains consistent, head Junker Daniel James just keeps getting better as a songwriter, with stronger melodies, more mature construction and a general sense that the sky’s the limit on his talent. Thus the band easily shifts from the Chuck Berry muscle of “Headbanger” to the almost pretty pop rock of “City Lights,” from the desperate punk & roll of “Through the Night” to the moody quasi-ballad “I Could Die,” without sounding like it’s trying too hard. Further proof that IJ is one of the best-kept secrets in rock & roll.

Mining an extremely sweet spot between power pop, roots rock and garage rock, Thee Idylls reiterate the strengths of simplicity: strong songs played without frills and plenty of conviction on their second EP My Fist. My Voice. My Dress. My Letter. (Chicken Ranch). No surprise, really, given that the L.A. foursome is led by John Crooke of long-gone alt.country shouldabeenstars Jolene, but here the singer/songwriter sounds refreshed, if not galvanized, by his years out of the spotlight. “A Picture Made” would have ruled college radio three decades ago, “Of California” hard-drives itself into the set-closing slot of any well-heeled rock & roll band, and “My Camera” merely stands as excellent. When this band gets around to a full-length LP, it’ll no doubt be a stone killer. (Note: the EP will be available in January on digital formats and as an extremely limited 10-inch. Ed note: And a lathe-cut 10-inch as that. Better order fast, as I did.]

It’s fair to slap a “garage rock” label on Cromm Fallon. After all, his solo debut Electric Bloom (Rum Bar) is full of sixties-style bon-bons like the rocking “East Bay” and “Out of Control” and the jangly “Scars From You,” and sweet bites they are, too. But the singer, songwriter and multi-instrumentalist (who also works with the Van der Rohe and the Laissez Faires) has reaches beyond his Nuggets collection for rackety pop soul (“The Next One”), brooding acid balladry (“No Sleep”), introspective folk rock (“Death Room”), dreamy psych pop (“Electric Change”) and lumering proto-metal (“Hired Suicide”). Boasting a knack for strong melodies and a straightforward vocal style that works whatever direction he wanders, Fallon comes up with a strong debut with loads of promise of future glories. 

Sounding as if the Replacements hit Hootenanny and quit evolving, Boston’s legendary Dogmatics return from self-imposed limbo with She’s the One (Rum Bar) – their first new music in (wait for it) thirty years. Featuring timeless rock & roll nuggets like “I Love Rock and Roll” (not the Arrows tune Joan Jett made famous), “The Ballad of Wilbur Ross” and the title track, not to mention snappy takes on Richie Parsons’ “Summertime” and the Reducers’ “Black Plastic Shoes,” the EP showcases a band that’s none the worse for wear after so much time away. Labelmates The Gotham Rockets hail from a different scene entirely – led by singer/guitarist Matt Langone and drummer Mighty Joe Vincent, the quartet’s soaked in the NYC garage rock scene going back decades. But the four songs on Blast Off (Rum Bar) evince the same love of rock & roll of many eras, from the fifties (dig Steve Greenfield’s sizzlin’ sax) to the eighties (the cool power pop of “What’s Done is Done”). Besides, how could anyone resist a line like “My love is strong – it’s been known to change the weather?”

Denver’s Fast Eddy celebrate that point when power poppers jumped into the action rock pool, adopting turbocharged Big Rawk flash and sneering attitude while keeping the foundation of pop melody and creamy harmonies intact. (Cf. Biters, the Greatest Hits, Wyldlife, etc.) Produced by Biters’ Tuk Smith, Toofer One (Boulevard Trash/Spaghetty Town), the quartet’s latest 7-inch is rich with all the virtues listed above – “Hurricane Alley” and “Milwaukee” present high craft attacked with rock & roll abandon, while “Lost” updates Chuck Berry for a post-punk rock world. The U.K.’s Los Pepes count as fellow travelers on their latest album Positive Negative (Gods Candy/Spaghetty Town), pumping up tuneful confections like “Let Me Tell You Something,” “Think Back” and “Ain’t Life Easy” with enough energy to light up an underground cavern, and just enough attitude to be dangerous. Is it punk? Is it power pop? Is it action rock? All of the above, and all blitz.

Melbourne’s Baby 8 keep the same faith, with a sweet ‘n’ crunchy melange of punk, power pop, hard rock and psychedelia on its debut We Hate Each Other, But We Hate You More# (Kasumuen). That the band can move so easily between the candy-coated pop of “Hypodermic” to the sneering butt rock of “Night Wants to Kill” without whiplash shows off a subtly high caliber of songcraft and a personality that imprints no matter what the template.   

A longtime associate of “Medway sound” mavens Billy Childish and Holly Golightly, prolific rocker Dan Melchior inaugurates his Band with ’Outside In’ (Midnight Cruiser). Though still a good fit in whatever low-fi, garage rocking genre Childish developed way back when, Melchior incorporates such arty flavors as postpunk and #motorik# into his punkabilly racket, allowing him to stretch out on tunes like the mantra-minded “Brownsville,” “Chinese Wine” and the groovy title track without slipping into jam band territory. “Pheasant Plucker,” a catchy version of the standard “Rye Whiskey” and a delightful take on Mose Allison’s “Your Mind is On Vacation” fulfill the basic rock requirements as well. 

Blurt’s covered the ever-prolific Left Lane Cruiser a few times before, for good reason: the weed-obsessed Indiana outfit rarely falters. #Shake and Bake (Alive), the group’s tenth record, finds the (once again) trio in fine form. Led, as always, by Freddy J IV’s gritty voice and dirty slide guitar, the band puts the pedal to the boogie with a set of raw-boned rock & roll rattlers. Blues is the flour, punk is the butter and “Two Dollar Elvis,” “Breaking You Down” and “Sweat Love to Shine” are the tasty biscuits. 

Led by the Gotohells’ Edo McGrady,  Cheap Gunslingers crank up the punk & roll on their self-titled debut LP (Rum Bar). Though originally intended to feature vanished performance artist Melissa DuCasse as part of the lineup, the trio sounds enthusiastic and confident here, putting three or four chords to good use on sneering, catchy blasters like “Record Store” and the self-explanatory “Three Chords” – not to mention the outlaw country outlier “Water Table Line.” Cheap and easy pleasures, maybe, but oh-so-satisfying.

 

The unrepentant snotrockets in Nottingham’s Hip Priests keep the throttle stuck on “full” for their fourth LP Stand For Nothing (Gods Candy/Ghost Highway/Digital Warfare). Wielding a blunt instrument perfected from bits of punk and hard rock, the quintet eschews prisoners on slam rock anthems “Cheers to Me,” “Losers of the Faith” (heh) and “Rock ‘N’ Roll Leper” with so much fury you’d swear they were from Scandinavia.

 

Southern California’s legendary Dickies appear and disappear at will, but they’re never gone for good. Still led by singer Leonard Graves Phillips and guitarist Stan Lee, the quintet rears its crazy-eyed head for a quick two-song single (Slope). Side A takes on “I Dig Go-Go Girls,” a Cheap Trick outtake circa that band’s first album. It’s presented fairly faithfully to the Trick’s patented hard pop style, complete with an attempt by guest vocalist Monkey (from the Adicts) at Robin Zander’s vocal acrobatics. The flip side fares better, as “The Dreaded Pigasaurus,” a new original, boasts such a catchy melody and dollop of sheer silliness, it’s worth the price of admission alone.  

New music from the gleefully-rocking Giuda is always a good thing, and new single “Overdrive” b/w “Lunar Eye” (Rise Above) is no different. The Italian combo’s giddy glam rock vision has expanded to include more straightforward hard rock of late, but that doesn’t mean they’ve forgone their singalong hooks, as both these songs prove. Very few modern acts capture the original seventies spirit of glam without carbon copying – that Giuda does it so effortlessly makes them ingenious as well as pure fun. Unlike Giuda, Suzi Quatro was doing the glam rock thing in the beginning. The Detroit-bred/German-dwelling singer/songwriter/bassist sounds no worse for nearly fifty years of wear, however, on No Control (Steamhammer/SPV). Some odd diversions (like the Latin pop of “Love Isn’t Fair”) aside, the songs rock like mothers – check out “Macho Man,” “Easy Pickin’s” and the magnificent pener “No Soul/No Control” to hear a pioneer casually show up her progeny. 

“Heartland punk” is not a thing some of us thought would ever happen, but there’s more attitudinal crossover between Bruce Springsteen and the Clash that one might think. Add some of that good old fashioned Midwestern melody and you’ve got a band like Mono in Stereo. Following its 2015 debut Long For Yesterday, the Rockford, IL quartet returns with Can’t Stop the Bleeding (Rum Bar), five slices of tuneful rock/punk with hearts on sleeves. “The Conversation,” “Different Kind of Man” and the title track will make fast friends with fans of acts like the Gaslight Anthem, Lucero, the Junk Monkeys and Rum Bar compadres Nato Coles and The Right Here. 

Nat Freedberg is hardly a household name, but surely he qualifies as some sort of underground rock legend by now, at least in the Northeast. Having led the Flies, the Titanics and the Upper Crust, Freedberg (who released the fine solo LP #Better Late Than Never# earlier this year) unveils his new combo Freeloader with The Path of Least Resistance  (Rum Bar). Leaving aside his punk and power pop leanings, the Boston rawk stalwart leans into no-bullshit hard rock, like the Crust without the theatrical trappings. (Well, except for the ridiculous “The Highland Fling.”) Though #Path# could use some of the Crust’s over-the-top energy, solid riffs abound (cf. “The Thing to Do” and “Back of the Line”), and Freedberg’s wry sense of humor shines on “Halfway Decent” and “Ten Songs Make An Album.” If you’ve ever wanted to know what Bon Scott would sound like covering the Four Seasons, check out Freeloader’s cover of “Rag Doll.” 

 

Butt rockin’ has long been the sole province of Canadian fistpumper Danko Jones, as evidenced on A Rock Supreme (M-Theory Audio). Jones and his rhythm section bring a certain sophistication to their ninth album, letting a little musical variety into the trio’s previously hermetically sealed world – cf. the smooth dynamic shifts of “Dance Dance Dance.” But musical development has never been the highest of priorities for Jones, and that’s just fine. Fancy intervals and jazz scales would only get in the way of the earthy riffery and singalong choruses of “Lipstick City” and “Fists Up High.” When you can sing “All I want to do is play my guitar and rock ‘n’ roll” with this much sincerity, you don’t need to “improve.” 

Back in its eighties L.A. heyday, Junkyard never quite fit into its Aquanet-misted surroundings. [I saw ’em twice back in the day and they kicked ass! – Ed.] Neither as glitter-sexed as Poison, nor as gutter-desperate as Guns ‘N Roses, the Texas/California hybrid (featuring former axeslingers from Minor Threat and the Big Boys) was too riddled with street punk and Southern rock to fit comfortably on the late 80s version of Headbanger’s Ball. Thus the quintet’s first two albums for Geffen never quite caught on, and the third was never released at all. Until now, that is. Only 27 years late, Old Habits Die Hard (Acetate) finally rears its denim-wrapped head. (Some of these songs appeared on the band’s self-released odds ‘n’ sods collections Joker and XXX.) Traces of both punk and the blues line the borders of hard rockers “I Come Crawling” and “Take Me Home,” while “Hangin’ Around” could slip into the setlist of your average alt.country bar band and no one would know the difference. The ballad “Tried & True” sounds genuinely heartbroken and soulful, unlike the efforts by most of their peers, and “Pushed You Too Far” is the kind of catchy, exciting anthem that should’ve put them over. Had Old Habits Die Hard come out when it was supposed to, it…probably would’ve been buried alive by the Alternative Nation. But who knows? Maybe it would’ve kept the band from being unfairly labeled a hair metal footnote.  

Speaking of folks mislabeled due to proximity (deliberate and otherwise) to headbangers with bigger video budgets than guitar amps, legendary rocker and Sunset Strip influencer Michael Monroe returns with One Man Gang (Silver Lining Music), his fifth solo record since the second dissolution of his seminal band Hanoi Rocks. With his international band (guitarists Steve Conte and Rich Jones, bassist Sami Yaffa, drummer Karl Rockfist) still in tow, Monroe maintains the quality of his previous records, almost effortlessly blasting out anthem after anthem, mining his past experience while still facing the future with youthful enthusiasm. “Black Ties and Red Tape” and the title track rip with punk rock fury, while “Wasted Years” and “Last Train to Tokyo” boast melodies that’ll stay with you long after the spinning (or streaming) ends. Monroe has been on a consistent roll in the last decade, and it’s nice to hear it continuing. 

Anyone who can simultaneously represent both the Australian and Detroit wings of Rock & Roll Headquarters is all right with us, and the ever-rocking Deniz Tek fits that bill. (At this point, his history is too long and complex to go into here. Google his website and read his journal entries if you want to know.) Joined once again by the Godoy boys – bassist Art and drummer Steve, his go-to rhythm section for a quarter century – on Fast Freight (Career) the erstwhile Radio Birdman leader stays true to the stripped-down, fuss-less aesthetic he’s favored since he started pumping out solo records: guitar, bass and drums, with no-nonsense vocals and basic riff-rock, all recorded live and direct. “Out of the Mood” and “When the Trouble Comes” don’t mess around, and if the sense of ambition that’s been evident on other recent releases is muted, it’s replaced by the confidence of a musician who knows how to maximize that at what he’s best.

Veteran British rocker Dave Kusworth keeps on keepin’ on, surviving the loss of his brother-in-arms Nikki Sudden and his own bad habits. This is in part due to the support of Spanish rock & roll true believers Los Tupper, who back the Birmingham-ite on Cinderella’s Shoes (Sunthunder), the pairing’s second full-length collaboration. Tupper’s love of the Faces and the Stones matches Kusworth’s own, so they’re perfect for lending the perfect amount of grease to rockers “Black Lace & Silver” and “Nothing (Lil’ Miss Conscience)” and delicate soul to ballads “Maide Vale Girl” and “Broken Dishes.” Feeling himself on solid ground, the man himself turns a set of tunes that won’t rewrite the R&R rulebook, but keep the faith as well anyone working this groove, including the Glimmer Twins themselves. Kusworth almost feels like a man out of time here, but anyone craving that certain mix of grit ‘n’ sentiment that used to animate rock & roll will be happy to step into the wayback machine. 

Rock isn’t (only) about mining past glories, of course – fans’ fixation on the music of their youth is what’s contributed to its fall from popular grace in the first place. So it’s imperative to hail bands like The Black Tones, who pull from the past while making music of the now. The Seattle duo’s debut LP Cobain and Cornbread (self-released) works basic blues rock, not unlike the early years of the Black Keys. But instead of sounding like they discovered some blues records and borrowed the vibe, guitarist/harmonica player/singer Eva Walker and drummer Cedric David come on like the blues have been in their blood since birth, allowing them to write songs that carry familiar riffology, but without directly ripping off the past masters. Thus “Plaid Pants,” “Ghetto Spaceship” and the mighty “The Key of Black (They Want Us Dead)” stand as modern, not retro, rock & roll, made by young musicians using the tools they have to make a noise that lives in the present. The band nods more directly to tradition with the harp ‘n’ voice take on the gospel tune “Rivers of Jordan,” but go farther afield on the banjo-driven “Striped Walls” and the all-out goofy “Mama, There’s a Spider in My Room.” Old school rock fans will glom onto the pair’s easy familiarity with the classic rock format, but the Tones aren’t interested in reviving anything – they’re ready to move on from tradition, even as they strategically utilize its contrivances.

.  Check out some choice audio and video from the folks featured in this report!

 

Baby 8 – We Hate Each Other But We Hate You More Bandcamp:

https://kasumuen.bandcamp.com/album/we-hate-each-other-but-we-hate-you-more

 

The Black Tones – Cobain and Cornbread Bandcamp:

https://theblacktones.bandcamp.com/album/cobain-cornbread

 

Cheap Gunslingers – s/t Bandcamp:

https://rumbarrecords.bandcamp.com/album/cheap-gunslingers

 

Cromm Fallon – Electric Bloom:

https://rumbarrecords.bandcamp.com/album/electric-bloom

 

The Dickies – “I Dig Go-Go Girls” teaser:

https://www.youtube.com/watch?v=SfA8xE9uDtQ

 

The Dogmatics – She’s the One Bandcamp:

https://rumbarrecords.bandcamp.com/album/shes-the-one

 

Fast Eddy – Toofer One Bandcamp:

https://fasteddy.bandcamp.com/album/toofer-one

 

Freeloader – Path of Least Resistance Bandcamp:

https://rumbarrecords.bandcamp.com/album/the-path-of-least-resistance

 

Giuda – “Overdrive” Soundcloud:

https://soundcloud.com/burgerrecords/giuda-overdrive

 

The Gotham Rockets – Blast Off Bandcamp:

https://rumbarrecords.bandcamp.com/album/blast-off

 

Richard X. Heyman – “Guess You Had to Be There”:

https://www.youtube.com/watch?v=Yh1bxBD4YFg

 

The Hip Priests – Stand For Nothing Bandcamp:

https://thehippriests1.bandcamp.com/album/stand-for-nothing-album

 

Thee Idylls – “A Picture Made”:

https://www.youtube.com/watch?v=xzRZ_nuEcFU&feature=emb_logo

 

Indonesian Junk – Spiderbites Bandcamp:

https://rumbarrecords.bandcamp.com/album/spiderbites

 

Danko Jones – “Fists Up High”:

https://www.youtube.com/watch?v=Csj3FpCc_jk

 

Dave Kusworth & Los Tupper – Cinderella’s Shoes Bandcamp:

https://lostupper.bandcamp.com/album/cinderella-s-shoes

 

Left Lane Cruiser – “Shake and Bake”:

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

 

Brad Marino – Extra Credit Bandcamp:

https://rumbarrecords.bandcamp.com/album/extra-credit

 

Dan Melchior Band – Outside In Bandcamp:

https://midnightcruiserrecords.bandcamp.com/album/outside-in

 

Mono in Stereo – Can’t Stop the Bleeding Bandcamp:

https://rumbarrecords.bandcamp.com/album/cant-stop-the-bleeding

 

Michael Monroe – “Last Train to Tokyo”:

https://www.youtube.com/watch?v=NZegMf2p1J4

 

Geoff Palmer – Pulling Out All the Stops Bandcamp:

https://rumbarrecords.bandcamp.com/album/pulling-out-all-the-stops

 

Los Pepes – Positive Negative Bandcamp:

https://lospepes.bandcamp.com/album/positive-negative

 

Suzi Quatro – “No Soul/No Control”:

https://www.youtube.com/watch?v=sjySKeelK3s

 

The Ugly Beats – Stars Align Bandcamp:

https://gethiprecordings.bandcamp.com/album/stars-align

 

Michael Toland: ROCKIN’ IS MA BUSINESS – Blurt’s Rock & Roll Roundup Pt. 5

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, HERE for Pt. 2, HERE for Pt. 3, and HERE for Pt. 4 (FYI: links to key audio and video tracks follow the main text.) Pictured above: Boston’s Prefab Messiahs.

BY MICHAEL “DENIM” TOLAND

Here in the Rockin department of Blurt, Inc., we tend to celebrate the variations of rock style by style. But that does an injustice to those acts that don’t bother to make distinction – punk, pop, psych, glam, etc. are all grist for the musical mill. Professor and the Madman is an excellent example. Comprised of veterans of the American and British punk rock wars, the Southern California quartet doesn’t waste time trying to stick to a formula on its first CD (following two digital-only releases) Disintegrate Me (FullerTone). Singers/guitarists Alfie Agnew and Sean Elliott, both ex-D.I., write songs that emphasize melody and hooks over genre loyalties, and the killer rhythm section of Paul Gray (the Damned, Eddie & the Hot Rods, U.F.O.) and Rat Scabies (the Damned) support every direction like a tap-dancing clock.

The quartet careens from seething punk (“Machines,” “Nightmare”) and high-voltage power pop (“Wishes,” “Faces”) to medium-tempo rock (“Useless”) and wayward psych (“Space Walrus,” “Electroconvulsive Therapy”), with the occasional dip into Monkeesish country rock (“Demented Love Song”) and whatever the droning “The Mirror” is. The variety isn’t a sign of dilettantism, however – the band applies the same keen sense of craft and loving charge of energy to every tune, nurturing the same spine. Disintegrate Me is an unexpected gem, and one that doesn’t require knowledge of its creators’ prior work to love.

Though France’s Guts Guttercat has long kept the same faith with Rolling Stones feel (and decadence) as Nikki Sudden, Dave Kusworth and the like, he too has no desire to simply catalog the styles he likes. For Follow Your Instinct (Pop the Balloon/Beluga), the fourth LP from his long-running Paris outfit Guttercats, he weaves strands of all the music he likes – street rock, psychedelia, glam, jangle pop – into a sensuous, ambitious tapestry that’s head-and-shoulders over anything he’s done before. The vocal harmonies on “I Promise You,” the off-kilter arrangement of “Down in the Hole” and the rich, Springsteenesque (or is that Street Hassle-esque?) drama of the title track give the band new dimensions. That’s not to say the group has forgotten its roots – check the ballad “Don’t Cry On My Shoulder” or the rocker “(Beyond the Limits) Before I Die” for old school delights. But Follow Your Instinct shows Guttercats to be a band finding its own sound in the beloved bric-a-brac of its leader’s loves.

Will garage rock – and by that we mean bands whose musical sensibilities haven’t evolved beyond the aesthetics of the Nuggets comps, not the term for anything with guitars and drums that popped up in the new millennium – ever go out of style? As long as older, junkier musical equipment remains (relatively) cheaply had and hormones continue to rage, the answer is clearly no. Especially coming out of the mouths of Thee Wylde Oscars. On its third album Rosalita! (Off the Hip), the Australian quartet needs little more than three chords, a foamy organ and a batch of songs that could just as easily be found on a compilation of regional 60s one-single wonders as on a CD made in the mid-’aughties. Your mileage may vary on whether or not you need more of this stuff in your life, but if you do, you can’t go wrong with “I Dig the Night-Time,” “Funny As a Heart Attack” or “Deja Voodoo.” Or you can skip right to “Wylde-Ass Twist” for immediate Oscarian indoctrination.

The Prefab Messiahs knocked around during the original early 80s garage revivalist explosion, but never managed to get an album out. Listening to the band’s Psychsploitation…Today! (Lolipop/Burger), it’s hard to think why. The New England band’s acid-tinged rock/pop is as tough and tuneful as anything else from the era, with the right balance between nostalgic reverence and cheeky humor. Check out “Having a Rave Up” (you can also view the awesome video for the track right here at BLURT) and “Monster Riff” (a clever recasting of the “Slow Death” riff) to hear the band hit those marks, or “Warmsinkingfeeling” and “The Man Who Killed Reality” for more blunt kicks. The Laissez Fairs also boast links to the original garage psych revival in bandmember John Fallon, late of the Steppes. The band’s second record Empire of Mars (Rum Bar) emulates the mid-60s era when the Beatles and the Stones were just starting to evolve into psychedelia – not yet full on acid casualties (a spot at which the Stones never arrived, of course), but adding touches like sitars, tablas and generous echo to their melodic rock & roll. The band goes whole hog into the other side here and there (the title track being a good example), but keeps the switch on “mildly trippy” for appealing, rockist tunes like “Wanna Make You Mine,” “Again Again Again” and “Almost Got You Made.”

We’ve waxed rhapsodic about Dirty Truckers leader Tom Baker before. In celebration of the attention his no-frills r’n’r has gotten lately, the band assembles “Best of” (Rum Bar), a primer on how to turbocharge the legacy of folk, country and early rock. With the assistance of not only his stalwart bandmates, but also Dave Minehan of the Neighborhoods (and the latter-day ‘Mats) and former Zulus/Human Sexual Response/Frank Black/etc. axeman Rich Gilbert, Baker jettisons trends to just play a passel of catchy, forthright three-chorders with absolute conviction. There’s way too much power here for the Truckers to be thrown under the Americana bus, but just enough familiarity with American tradition to make songs like “Off the Hook” and “Crosscutting Concerns” more than just bar-band rave-ups. The band’s choice of covers slip us the key: the Replacements’ “Can’t Hardly Wait” and Steve Earle’s “Hardcore Troubadour.” Boston-to-Austin singer/songwriter Buckley (J.D. to his buds) also amps up roots rock on his second solo album Las Cruces (Rum Bar). The former leader of the Gilded Splinters almost slavishly apes Neil Young at times, from the Crazy Horse stomp of “Bakersfield” to the 70s country rock of “Devil Slide,” but plays it all with exactly the right feel. Besides, when the distortion cranks on a singalong anthem like “Three Chiefs,” it’s churlish to complain. [Full disclosure: your humble correspondent was born in the titular New Mexico town.]

Spain loves its American rock, power pop and punk, so it’s no surprise that the country has plenty of homegrown imitators. K7s distill that love down to its essence with Take 1 (Rum Bar), twenty-seven minutes of poppy punk that veers between the energetically sweet (“Listen to My Heart,” “Your Lips Met Mine”) to the blazingly pissy (“It’s the CIA,” “I Want You to Know” – “there’s no tomorrow,” that is). There’s plenty of lyrical treacle here – seriously, folks, it’s 2018, and no one should be writing songs about listening to hearts, yours or mine. But effortlessly catchy hooks and enough turbopower to indicate an unhealthy mixture of sugar and amphetamines mostly keep the band out of trouble. How many other songs called “Never-ending Love” make you want to smash stuff?

Boston’s Watts follows up its kick-ass LP The Black Heart of Rock n Roll with All Done With Rock ‘n’ Roll (Rum Bar), a four-songer that seemingly contradicts its predecessor’s message. The Boston quartet does, in fact, ease back on the throttle a bit – “Hi Definition,” “Sunlight Alleys” and the world-weary title track emphasize hooks over the band’s usual overpowering rawk attack. It’s a surprising turn, but one that works out due to the groups’ rock-solid songwriting and affinity for melody. Besides, “Tear It Up” brings back the wildfire, just in case we think Watts has forgotten its roots.

The Bonnevilles broke out of their homebase in Ireland a couple of years ago with their fourth album Arrow Pierce My Heart. Album number five Dirty Photographs (Alive Naturalsound) continues the duo’s work splicing Chess Records with Nuggets, with more of an emphasis on the latter. Indeed, “By My Side,” “The Good Bastards” and the title track (a paean to singer/guitarist Andrew McGibbon Jr.’s wife’s, um, hindquarters) smile and wave as they kick over the furniture. Even at the pair’s bluesiest (“Don’t Curse the Darkness,” “Fear of the New Zealot”), they have little interest in despair.

It’s always nice to hear a combo that remembers where all this rock & roll stuff originally came from. The Heartbrokers call up the spirit of the late, great Chuck Berry (plus a bit of punk rock attitude) on “Dance Motherfucker,” the second track on its debut Vol. 10 (Off the Hip). Led by singer/songwriter Van Walker, the Australian collective also bashes through wistful folk rock (“Rank Outsider”), horn-enhanced roots rock (“Love Your Enemy”), Midwestern hard rock (“I Am the Devil”), Southern rock (“Eye in the Keyhole”), brash boogie (“Trouble in Paradise”) and even a cover of Freddie King’s “Goin’ Down,” all done with enthusiasm and skill. If it rocks, the Heartbrokers love it, and do it well.

Easy to forget, but the guitar isn’t the only instrument primed for rock & roll. San Antonio’s Harvey McLaughlin reminds us of this by tickling the ivories on his debut album Tabloid News (Saustex). As might be suspected from the title, he also tickles a few ribs along the way – you don’t click over to a song called “Bigfootsville” or “Must’ve Been Elvis” expecting a serious treatise on the human condition. Like Randy Newman, McLaughlin’s playing is rooted in New Orleans pre-rock R&B, which gives his tunes rolling melody lines that would sound comfortable next to Fats Domino on a specialty radio show. “Mysterioso Blues” and “November 1st” demonstrate an excellent feel for Southern styles without coming close to pastiche. McLaughlin never brings his songs to the brink of chaos – to do so would obscure the wit threaded through his lyrics – but he builds up nice heads of steam on “Tunguska,” “My Baby’s Too Good (For the 515)” and the wordless “All’s Well in Roswell.” It’s been a long time since a singer/songwriter like McLaughlin’s come down the pike, and he’s a welcome breath of fresh air.

****************

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

 

The Bonnevilles – “Dirty Photographs”:

https://soundcloud.com/alivenaturalsound/dirty-photographs

 

Buckley – Las Cruces Bandcamp:

https://rumbarrecords.bandcamp.com/album/las-cruces

 

The Dirty Truckers – “Best of” Bandcamp:

https://rumbarrecords.bandcamp.com/album/best-of

 

Guttercats – Follow Your Instinct Bandcamp:

https://belugarecords.bandcamp.com/album/guttercats-follow-your-instinct

 

K7s – Take 1 Bandcamp:

https://rumbarrecords.bandcamp.com/album/take-1

 

The Laissez Fairs – Empire of Mars Bandcamp:

https://rumbarrecords.bandcamp.com/album/empire-of-mars

 

Harvey McLaughlin – Tabloid News Soundcloud:

https://soundcloud.com/saustex/tabloid-news

 

The Prefab Messiahs – Psychsploitation…Today! Bandcamp:

https://theprefabmessiahs.bandcamp.com/album/psychsploitation-today

 

Professor and the Madman – Soundcloud:

https://soundcloud.com/professorandthemadman

 

Watts – All Done With Rock ‘n’ Roll Bandcamp:

https://rumbarrecords.bandcamp.com/album/all-done-with-rock-n-roll

 

Thee Wylde Oscars – Rosalita! Bandcamp:

https://theewyldeoscars.bandcamp.com/album/rosalita

 

ROCKIN’ IS MA BUSINESS: Blurt’s Rock & Roll Roundup Pt. 5

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, HERE for Pt. 2, HERE for Pt. 3, and HERE for Pt. 4 (FYI: links to key audio and video tracks follow the main text.) Pictured above: Boston’s Prefab Messiahs.

BY MICHAEL “DENIM” TOLAND

Here in the Rockin department of Blurt, Inc., we tend to celebrate the variations of rock style by style. But that does an injustice to those acts that don’t bother to make distinction – punk, pop, psych, glam, etc. are all grist for the musical mill. Professor and the Madman is an excellent example. Comprised of veterans of the American and British punk rock wars, the Southern California quartet doesn’t waste time trying to stick to a formula on its first CD (following two digital-only releases) Disintegrate Me (FullerTone). Singers/guitarists Alfie Agnew and Sean Elliott, both ex-D.I., write songs that emphasize melody and hooks over genre loyalties, and the killer rhythm section of Paul Gray (the Damned, Eddie & the Hot Rods, U.F.O.) and Rat Scabies (the Damned) support every direction like a tap-dancing clock.

The quartet careens from seething punk (“Machines,” “Nightmare”) and high-voltage power pop (“Wishes,” “Faces”) to medium-tempo rock (“Useless”) and wayward psych (“Space Walrus,” “Electroconvulsive Therapy”), with the occasional dip into Monkeesish country rock (“Demented Love Song”) and whatever the droning “The Mirror” is. The variety isn’t a sign of dilettantism, however – the band applies the same keen sense of craft and loving charge of energy to every tune, nurturing the same spine. Disintegrate Me is an unexpected gem, and one that doesn’t require knowledge of its creators’ prior work to love.

Though France’s Guts Guttercat has long kept the same faith with Rolling Stones feel (and decadence) as Nikki Sudden, Dave Kusworth and the like, he too has no desire to simply catalog the styles he likes. For Follow Your Instinct (Pop the Balloon/Beluga), the fourth LP from his long-running Paris outfit Guttercats, he weaves strands of all the music he likes – street rock, psychedelia, glam, jangle pop – into a sensuous, ambitious tapestry that’s head-and-shoulders over anything he’s done before. The vocal harmonies on “I Promise You,” the off-kilter arrangement of “Down in the Hole” and the rich, Springsteenesque (or is that Street Hassle-esque?) drama of the title track give the band new dimensions. That’s not to say the group has forgotten its roots – check the ballad “Don’t Cry On My Shoulder” or the rocker “(Beyond the Limits) Before I Die” for old school delights. But Follow Your Instinct shows Guttercats to be a band finding its own sound in the beloved bric-a-brac of its leader’s loves.

Will garage rock – and by that we mean bands whose musical sensibilities haven’t evolved beyond the aesthetics of the Nuggets comps, not the term for anything with guitars and drums that popped up in the new millennium – ever go out of style? As long as older, junkier musical equipment remains (relatively) cheaply had and hormones continue to rage, the answer is clearly no. Especially coming out of the mouths of Thee Wylde Oscars. On its third album Rosalita! (Off the Hip), the Australian quartet needs little more than three chords, a foamy organ and a batch of songs that could just as easily be found on a compilation of regional 60s one-single wonders as on a CD made in the mid-’aughties. Your mileage may vary on whether or not you need more of this stuff in your life, but if you do, you can’t go wrong with “I Dig the Night-Time,” “Funny As a Heart Attack” or “Deja Voodoo.” Or you can skip right to “Wylde-Ass Twist” for immediate Oscarian indoctrination.

The Prefab Messiahs knocked around during the original early 80s garage revivalist explosion, but never managed to get an album out. Listening to the band’s Psychsploitation…Today! (Lolipop/Burger), it’s hard to think why. The New England band’s acid-tinged rock/pop is as tough and tuneful as anything else from the era, with the right balance between nostalgic reverence and cheeky humor. Check out “Having a Rave Up” (you can also view the awesome video for the track right here at BLURT) and “Monster Riff” (a clever recasting of the “Slow Death” riff) to hear the band hit those marks, or “Warmsinkingfeeling” and “The Man Who Killed Reality” for more blunt kicks. The Laissez Fairs also boast links to the original garage psych revival in bandmember John Fallon, late of the Steppes. The band’s second record Empire of Mars (Rum Bar) emulates the mid-60s era when the Beatles and the Stones were just starting to evolve into psychedelia – not yet full on acid casualties (a spot at which the Stones never arrived, of course), but adding touches like sitars, tablas and generous echo to their melodic rock & roll. The band goes whole hog into the other side here and there (the title track being a good example), but keeps the switch on “mildly trippy” for appealing, rockist tunes like “Wanna Make You Mine,” “Again Again Again” and “Almost Got You Made.”

We’ve waxed rhapsodic about Dirty Truckers leader Tom Baker before. In celebration of the attention his no-frills r’n’r has gotten lately, the band assembles “Best of” (Rum Bar), a primer on how to turbocharge the legacy of folk, country and early rock. With the assistance of not only his stalwart bandmates, but also Dave Minehan of the Neighborhoods (and the latter-day ‘Mats) and former Zulus/Human Sexual Response/Frank Black/etc. axeman Rich Gilbert, Baker jettisons trends to just play a passel of catchy, forthright three-chorders with absolute conviction. There’s way too much power here for the Truckers to be thrown under the Americana bus, but just enough familiarity with American tradition to make songs like “Off the Hook” and “Crosscutting Concerns” more than just bar-band rave-ups. The band’s choice of covers slip us the key: the Replacements’ “Can’t Hardly Wait” and Steve Earle’s “Hardcore Troubadour.” Boston-to-Austin singer/songwriter Buckley (J.D. to his buds) also amps up roots rock on his second solo album Las Cruces (Rum Bar). The former leader of the Gilded Splinters almost slavishly apes Neil Young at times, from the Crazy Horse stomp of “Bakersfield” to the 70s country rock of “Devil Slide,” but plays it all with exactly the right feel. Besides, when the distortion cranks on a singalong anthem like “Three Chiefs,” it’s churlish to complain. [Full disclosure: your humble correspondent was born in the titular New Mexico town.]

Spain loves its American rock, power pop and punk, so it’s no surprise that the country has plenty of homegrown imitators. K7s distill that love down to its essence with Take 1 (Rum Bar), twenty-seven minutes of poppy punk that veers between the energetically sweet (“Listen to My Heart,” “Your Lips Met Mine”) to the blazingly pissy (“It’s the CIA,” “I Want You to Know” – “there’s no tomorrow,” that is). There’s plenty of lyrical treacle here – seriously, folks, it’s 2018, and no one should be writing songs about listening to hearts, yours or mine. But effortlessly catchy hooks and enough turbopower to indicate an unhealthy mixture of sugar and amphetamines mostly keep the band out of trouble. How many other songs called “Never-ending Love” make you want to smash stuff?

Boston’s Watts follows up its kick-ass LP The Black Heart of Rock n Roll with All Done With Rock ‘n’ Roll (Rum Bar), a four-songer that seemingly contradicts its predecessor’s message. The Boston quartet does, in fact, ease back on the throttle a bit – “Hi Definition,” “Sunlight Alleys” and the world-weary title track emphasize hooks over the band’s usual overpowering rawk attack. It’s a surprising turn, but one that works out due to the groups’ rock-solid songwriting and affinity for melody. Besides, “Tear It Up” brings back the wildfire, just in case we think Watts has forgotten its roots.

The Bonnevilles broke out of their homebase in Ireland a couple of years ago with their fourth album Arrow Pierce My Heart. Album number five Dirty Photographs (Alive Naturalsound) continues the duo’s work splicing Chess Records with Nuggets, with more of an emphasis on the latter. Indeed, “By My Side,” “The Good Bastards” and the title track (a paean to singer/guitarist Andrew McGibbon Jr.’s wife’s, um, hindquarters) smile and wave as they kick over the furniture. Even at the pair’s bluesiest (“Don’t Curse the Darkness,” “Fear of the New Zealot”), they have little interest in despair.

It’s always nice to hear a combo that remembers where all this rock & roll stuff originally came from. The Heartbrokers call up the spirit of the late, great Chuck Berry (plus a bit of punk rock attitude) on “Dance Motherfucker,” the second track on its debut Vol. 10 (Off the Hip). Led by singer/songwriter Van Walker, the Australian collective also bashes through wistful folk rock (“Rank Outsider”), horn-enhanced roots rock (“Love Your Enemy”), Midwestern hard rock (“I Am the Devil”), Southern rock (“Eye in the Keyhole”), brash boogie (“Trouble in Paradise”) and even a cover of Freddie King’s “Goin’ Down,” all done with enthusiasm and skill. If it rocks, the Heartbrokers love it, and do it well.

Easy to forget, but the guitar isn’t the only instrument primed for rock & roll. San Antonio’s Harvey McLaughlin reminds us of this by tickling the ivories on his debut album Tabloid News (Saustex). As might be suspected from the title, he also tickles a few ribs along the way – you don’t click over to a song called “Bigfootsville” or “Must’ve Been Elvis” expecting a serious treatise on the human condition. Like Randy Newman, McLaughlin’s playing is rooted in New Orleans pre-rock R&B, which gives his tunes rolling melody lines that would sound comfortable next to Fats Domino on a specialty radio show. “Mysterioso Blues” and “November 1st” demonstrate an excellent feel for Southern styles without coming close to pastiche. McLaughlin never brings his songs to the brink of chaos – to do so would obscure the wit threaded through his lyrics – but he builds up nice heads of steam on “Tunguska,” “My Baby’s Too Good (For the 515)” and the wordless “All’s Well in Roswell.” It’s been a long time since a singer/songwriter like McLaughlin’s come down the pike, and he’s a welcome breath of fresh air.

****************

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

 

The Bonnevilles – “Dirty Photographs”:

https://soundcloud.com/alivenaturalsound/dirty-photographs

 

Buckley – Las Cruces Bandcamp:

https://rumbarrecords.bandcamp.com/album/las-cruces

 

The Dirty Truckers – “Best of” Bandcamp:

https://rumbarrecords.bandcamp.com/album/best-of

 

Guttercats – Follow Your Instinct Bandcamp:

https://belugarecords.bandcamp.com/album/guttercats-follow-your-instinct

 

K7s – Take 1 Bandcamp:

https://rumbarrecords.bandcamp.com/album/take-1

 

The Laissez Fairs – Empire of Mars Bandcamp:

https://rumbarrecords.bandcamp.com/album/empire-of-mars

 

Harvey McLaughlin – Tabloid News Soundcloud:

https://soundcloud.com/saustex/tabloid-news

 

The Prefab Messiahs – Psychsploitation…Today! Bandcamp:

https://theprefabmessiahs.bandcamp.com/album/psychsploitation-today

 

Professor and the Madman – Soundcloud:

https://soundcloud.com/professorandthemadman

 

Watts – All Done With Rock ‘n’ Roll Bandcamp:

https://rumbarrecords.bandcamp.com/album/all-done-with-rock-n-roll

 

Thee Wylde Oscars – Rosalita! Bandcamp:

https://theewyldeoscars.bandcamp.com/album/rosalita

 

ROCKIN’ IS MA BUSINESS: Blurt’s Rock & Roll Roundup Pt.4

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, HERE for Pt. 2, and HERE for Pt. 3. Pictured above: Sweet Apple. (FYI: links to key audio and video tracks follow the main text.)

BY MICHAEL “DENIM” TOLAND

Everything singer/guitarist John Petkovic touches seems to turn to rock, from Death of Samantha to Cobra Verde to his current project Sweet Apple. The latter quartet seems like the culmination of his vision to date, putting postpunk, glitter rock, power pop and old-fashioned hard rock through Petkovic’s own special filter and coming out gold. Sing the Night in Sorrow (Tee Pee), the third LP from Sweet Apple, practically shivers with barely-repressed energy, focusing all of Petkovic’s loves into a potent rush to the rock & roll finish line. The tough “World I’m Gonna Leave You,” epic “Candles in the Sun” and sky-kissing “She Wants to Run” enliven the rock radio of our dreams, while “A Girl and a Gun” – a duet with Rachel Haden – and the album closing “Everybody’s Leaving” reclaim the slow song from power ballad territory beautifully.  If Sweet Apple sounds a little more like Cobra Verde than on previous platters, that’s no surprise, given that CV co-axeman Tim Parnin and former DoS/CV slinger Doug Gillard share six-string duties. Not that it matters, as Sing the Night in Sorrow keeps the rock & roll faith as well as any other record Pektovic’s captained – which is to say as well as any contemporary rock record extant.

Boston seems like it should be a town too intellectual and gentile to kick out any jams, but plenty of balls-out rawk has come from that town. The latest addition to the ranks is Justine & the Unclean, a rip-snorting quartet of glam/punk/power pop/garage rockers that never met a six-string hook they didn’t like. Get Unclean (Rum Bar), the band’s debut, keeps the melodies strong and the attitude sneering on cracking tunes like “Love Got Me Into This Mess,” “Worry Stone” and the self-explanatory “I’m in Love With You, Jackass.” Fans of Nikki & the Corvettes and the NY Loose should just line right up.

Further to the west, Stars in the Night (Rum Bar), the second LP from Milwaukee trio Indonesian Junk, plays up the streetwise side of its protopunk/power pop cocktail. “Turn to Stone,” “Nosferatu” and “I Would Never Treat You Like That” streamline the band’s sound down to its essence, with bash-it-out rhythms pushing unvarnished rock licks and Daniel James’ inelegantly wasted sneer. Meanwhile, L.A. gutter rockers Dr. Boogie drop a deuce with new single “She’s So Tuff”/”Peanut Butter Blues” (Spaghttey Town). The A-side’s streetwise glitter rock contrasts nicely with the B’s Stonesy roar, the connecting thread being Chris P.’s angry rasp and the band’s dedication to riff and groove. The East Coast re-represents with New Yorkers Dirty Fences’ third slab Goodbye Love (Greenway), a dizzily catchy collection of rockers, rollers and rompers that crossbreed Midwestern power pop with Lower East Side street rock. If the feverish opener  “All You Need is a Number” doesn’t do it for ya, the Christine Halladay duet “One More Step” or the delirious pop tune “Blue Screen” just might.


The legendary status of the Raspberries in the power pop community obscures the fact that the Cleveland band was quite popular during their early 70s heyday, regularly lobbing hit singles into the charts. Regardless of standing in the nebulous cloud of the music industry, the original quartet reunited in the first decade of the new millennium to show the young whippersnappers how it was done during the years when the Beatles, the Kinks and the Who were their only role models. Pop Art Live (Omnivore) captures a fiery gig from 2004 in front of a hometown crowd, all four original members included. Eric Carmen’s voice no longer hits the gloriously throat-shredding heights of the band’s glory days, but that’s no crime – age comes to us all, after all – and it otherwise retains its melodic power. The band backs him as if they couldn’t wait to get back in the saddle, making it clear that this reunion was done as much out of love as any financial incentive. Running enthusiastically through the catalog, the ‘berries reminds us just how many gems they’ve polished – not just the hits (“I Wanna Be With You,” “Overnight Sensation,” “Tonight,” a titanic, show-closing “Go All the Way”), but lesser-known, equally fine cuts like “Makin’ It Easy,” “I Can Remember” and “Nobody Knows.” Add in a couple of songs by Raspberries precursors the Choir and some filler from the Beatles catalog and it’s a power pop party. Plus it’s a double live album like the days of old.

Seattle’s Knast falls on the more psychedelic end of power pop on its debut Reckless Soul (Casual Audio Group Ltd). That mainly means some extra echo and tremolo here and there and some obvious affection for the 80s British psych pop scene, but the focus remains squarely on the songs and hooks. Which works out well for the Knast – whether the band is kicking up dust with “Side Effects” and “Sold Out,” getting sardonic with “Fight or Flight” and “Situation Vacant,” or just being a sparkling pop band on “Here and There” and “Time Out of Mind,” it knows just how to handle a catchy melody with taste and verve. The fellow Pacific Northwesterners of Date Night With Brian add a 90s alt.rock flare to the efficiently composed and performed tunes on its self-titled EP (Top Drawer). Five songs in eleven minutes, not a one less than immediately catchy and appealing.

The garage rocking Juliette Seizure and the Tremor Dolls (who win this month’s “Best Band Name” contest) find that revered sweet spot between Nuggets-powered punk and girl gang pop on Seizure Salad (Off the Hip), the Australian sextet’s second record. The blurry production doesn’t suit the band’s harmonies, but these songs are powered by attitude more than expertise, making the grungy “Stink,” the hooky “Imagination” and the rocking “Take What You Want” more representative than attempts to be like an edgier Shangri-La’s. Nice tip of the hat to Dead Moon with “Be My Fred Cole,” by the way. Detroit-to-L.A.’s intrepid Singles have kept on keepin’ on since the early ‘aughts, refusing to die no matter how many years go between albums. Sweet Tooth (Grimy Goods), the trio’s fourth LP, keeps the faith of prior platters, with stripped down power pop hearkening back to the late 70s glory years of the Plimsouls and their brethren/sistren. Stuffed with hooks and youthful verve, “Voodoo,” “If You Want Me, You Can Have Me” and “Masterpiece” effortlessly bring smiles with every turn of the melodies.

Chattanooga’s Mark “Porkchop” Holder clearly has no time to waste, as he’s already followed up his debut album from earlier in 2017 with Death and the Blues (Alive), picking up right where he left off. Though the former member of Black Diamond Heavies is no amateur, Holder is sort of the anti-cracker blues cracker bluesman – he skips displays of six-string virtuosity typical of Clapton/Vaughan acolytes and just goes for the gut. Whether he’s admonishing haters with the heavy “What’s Wrong With Your Mind,” gets a little frightening with the anthemic “Be Righteous” or just rocks like a motherfucker on “Coffin Lid,” Holder and his backup duo burrow right down to the bone. Speaking of blues grunge, Indiana’s Left Lane Cruiser hit a new high (yes, we see what we did there) with 2015’s Dirty Spliff Blues, and while latest album Claw Machine Wizard (Alive) takes a bit of a step back as the band goes back to being a duo, its raunchy punked-up blues roils unabated. “Lately” boogies, “Burn Em Brew” boils and the title track bashes, powered, as always by guitarist/vocalist Freddy J IV’s filthy slide and backwoods bark.

 

Five Horse Johnson plows much the same furrow as Cruiser, but if the latter uses a rake and a hoe, the musclebound Toledo quintet prefers a backhoe and occasional dynamite to make the earth move. Jake Leg Boogie (Small Stone), the band’s eighth album, pulls from the heavy rawness of the early years while keeping the songwriting progression of recent albums, making “Ropes and Chains,” “Cryin’ Shame” and “Daddy Was a Gun” masterclasses in powerhouse blues rock. Best of all, “Hard Times” gets political without being preachy – it’s too busy rocking your soul for that. Berlin’s Travelin Jack (pictured above) weave a carpet out of threads sewn from bluesy grit, hard rock stomp and glam, then dirties that rug up with platform boots on its second album Commencing Countdown (Steamhammer/SPV). Guitarist Floy the Fly drives the tracks with riffs that mix in-your-face theaterics and a soulful feel, but it’s vocalist Alia Spaceface who takes center stage with her leathery howl. Hit up the menacing “Fire,” the anthemic “Time” and the blazing “Keep On Running” and get your 70s rockstar air guitarspew on.

Australian James McCann did time in the original lineup of the Drones and its predecessor Gutterville Splendor Six, so you know the dude’s got chops, attitude and credibility to spare. But even if he didn’t, Gotta Lotta Move – Boom! (Off the Hip), his sixth album and second with his backing combo The New Vindictives, would rule. Like his former bands, McCann has a grounding in the blues, but no reverence for its traditions – he’s more interested in feel than form. For the latter the singer/guitarist goes back to his punk rock youth, bashing out blazing bruisers like  “Lies Start Here,” “Tar On the Lip” and the blast-tastic title track like a man with nothing to lose and a lot to prove. “Sheena Says” boasts the kind of pop hook you’d expect from a song with a girl’s name followed by “Says,” while “Nick’s Song” drags countrified balladry through the bloodsoaked dust of the scene of a shootout. McCann pays tribute to a couple of vets along the way, co-penning, singing and guitaring “I Can Control Your Mind” with Wet Taxis/Sacred Cowboys/solo slinger Penny Ikinger and covering erstwhile Beasts of Bourbon/Johnnys guitarist/songwriter Spencer P. Jones’ “What is Life in Jail.” The real punk blues indeed. (Toland, you had me at “Australian.” I’m in love, L-U.V. — Oz Ed.)

The roots rocking Flat Duo Jets have often been cited as a big influence on Jack White and his perception of what a rock & roll duo could be. People forget, however, that the North Carolina combo was a trio when it made its full-length vinyl debut. The band’s self-titled first album came out in 1990 on former R.E.M. manager Jefferson Holt’s short-lived label Dog Gone, and was M.I.A. for years. The double disk Wild Wild Love (Daniel 13) rescues that LP from oblivion, adding the Jets’ 1985 cassette-only EP In Stereo and a plethora of outtakes from the original Flat Duo Jets sessions. The addition of bass grounds singer/guitarist Dexter Romweber and drummer Crow a bit, reigning in their wild-eyed Reagan-era rockabilly just enough to make it surge with power, like a tightly-coiled spring. Covers of the usual early rock suspects (Bo Diddley, Fats Domino, Elvis Presley, Wanda Jackson) sidle up to a handful of originals, but the real surprises come in the outtakes. Besides the rockabilly and R&B, Romweber knocks out the jazz standard “Harlem Nocturne,” the ridiculous but challenging “Bumble Bee Boogie” and Django Reinhardt and Stephane Grappelli’s gypsy jazz classic “Minor Swing.” It’s a reminder that Romweber is not, and has never been, a primitive, but a musician of unheralded skill.

 

Tom Heyman’s rock & roll creds are impeccable due to his membership in the long-gone, much-missed Go To Blazes. He’s kept more to a rootsy singer/songwriter vibe since then, but Show Business, Baby (Bohemian Neglect), his fourth album, pulls some of his mojo back in. Like a stripped-down Tom Petty, Heyman lets “Show Business,” “All Ears” and “Baby Let Me In” get loose ‘n’ lively like John Fogerty jamming with the 70s Stones. Boston’s Dirty Truckers get more medieval on roots rock’s ass with latest EP Tiger Stripes (Rum Bar). “Human Contact” and “Feedback” sound like they come from a lost mid-period Replacements album. Leader Tom Baker proved his rock & roll bonafides with this year’s Lookout Tower via his other band the Snakes, and Tiger Stripes upholds the same virtues: melody + energy = coooool.

Any punk knows the SoCal milieu in the early 80s was a thriving thrash & roll metropolis equal to the 70s scenes in New York, Detroit and the U.K. Symbol Six didn’t attain the same repute as peers like the Adolescents, Agent Orange and Black Flag, but when the band resurrected itself a few years ago, it was with the same brute strength and righteous rage as it had thirty years prior. Side Four (Jailhouse), the third album by the group since its revival, is simply a powerhouse, from Phil George’s battering drums to Tony Fate’s wall of guitar crunge to Eric Leach’s Alice Cooperesque howl. It helps that the band has a strong batch of songs to which to apply its mojo – “Cold Blood,” “Really Doesn’t Matter” and the cheeky “Megalomaniac” scan as catchy as crunching. Fate’s acoustic instrumental title tune and tape collage “Mellotron” allow quick chances to breath, but otherwise Side Four breathes fire from beginning to end. Eric Leach (pictured above) also has a solo album out; surprisingly, Mercy Me (self-released) eschews blazing punk & roll for tasteful roots rock. Comparable to the 80s roots rock scare, the songs on Mercy Me benefit from Leach’s evident sincerity, no-bullshit attitude and his remarkable voice, which adapts to this music better than you might think.

If Tales From the Megaplex (Saustex) is any indication, Count Vaseline (Stefan Murphy to his mom) sees no difference between 60s garage rock, 70s New Yawk proto punk and rockabilly. The former Dubliner/current Atlantean simply bangs out his rock ditties, most of less than two minutes long, without a jot of regard for genre, sensibility or public opinion. Plenty of wit and personality, though, from the dry shade of “Hail Hail John Cale” (“Lou Reed died wishing he could be John Cale”), the wishful thinking of “Texas Band” and the cheeky mystery of “What’s Your Name, Where Are You From, What Are You On?” (“I’m on ecstasy and I really want to tell you some jokes”). At eight songs in less than fifteen minutes, it’s a very efficient use of one’s rock & roll time. Pittsburgh’s Carsickness took the eclectic, late 70s punk model of the Clash and pushed into artier directions. 1979-1982 (Get Hip) shows off the quintet’s singleminded focus, mixing fractured rhythms, free jazz histrionics and pure punk power together for a knee-twisting blast of spasmodic fury. The raging “Plastic Beauty” and the seething “Bleeding” demonstrate that “rock” need not compromise for “art.”

Joey Skidmore is one of those rock & roll true believers who’s been knockin’ around the leather jackets/blue jeans underground for years. So many, in fact, that the Missouri rocker compiled a two-disk anthology covering his 37 (!) years of service. Mostly produced by the venerable Lou Whitney, may he rest in peace, Rollin’ With the Punches: The Best of Joey Skidmore (self-released) ranges from exuberant roots rock to raging power rock, all of it united by Skidmore’s rich baritone, love of guitars and enthusiastic songwriting. Divided into a “best of” disk and a “worst of” (i.e. rarities, EP tracks and unreleased stuff from the vaults), Rollin’ With the Punches never flags in its pursuit of a rockin’ good time. Skidmore may be an unknown quantity to many people, but with Nikki Sudden, Eric Ambel and members of Jason & the Scorchers, the Skeletons, the Morells and even Black Oak Arkansas making appearances and a covers pallet that runs the gamut from Chuck Berry to Blue Oyster Cult, you know he’s got the goods.

And speaking of faith-keepers, one of Finland’s greatest musical exports has also decided the time is right for a career-wide retrospective, as Michael Monroe, ex-Hanoi Rocks, rounds up nearly thirty tracks from his life outside of Hanoi for the simply titled The Best (Spinefarm). He divides the disks into the times between stints with Hanoi, with the first disk covering the mid-80s to the early ‘aughts, and the second disk hitting his recent years since Hanoi’s second shutdown in 2009. Though the first disk shows the influence of the time period in which a lot of it was recorded, Monroe’s rock & roll vision – a wickedly hooky blend of glam rock, punk and heartland rock refined in New York, L.A. and London, as well as his home country – stays consistent throughout. Disk two cuts like “Goin’ Down With the Ship,” “The Ballad of the Lower East Side” and “Trick of the Wrist” sound superior to these ears – there’s nothing like the buzz of a late career renaissance, when an artist has both reignited enthusiasm and savvy experience on his side. But that’s not to deny the powerhouses on disk one, including “Where’s the Fire John,” “Life Gets You Dirty” and the immortal classic “Dead, Jail or Rock N Roll.” Hell, the inclusion of four songs from Monroe’s sadly short-lived early 90s act Demolition 23, whose lone album is a bear to find, nearly make this a must-have on their own. Essential.

***

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

Carsickness – Bandcamp:

https://gethiprecordings.bandcamp.com/album/1979-1982

Th Dirty Fences – “One More Step”:

https://soundcloud.com/greenwayrecords/one-more-step-ft-christina

The Dirty Truckers – Bandcamp:

https://rumbarrecords.bandcamp.com/album/tiger-stripes

Five Horse Johnson – Bandcamp:

https://smallstone.bandcamp.com/album/jake-leg-boogie

Tom Heyman – Bandcamp:

htts://tomheyman.bandcamp.com/album/show-business-baby

Mark “Porkchop” Holder – “Captain Captain”:

https://www.youtube.com/watch?v=0_In-g8HejE

Indonesian Junk – Bandcamp:

https://rumbarrecords.bandcamp.com/album/stars-in-the-night

The Knast – “Situation Vacant”:

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

Eric Leach – “Zoom”:

https://www.youtube.com/watch?v=ZPrBErt7xTk

Left Lane Cruiser – “Claw Machine Wizard”:

https://www.youtube.com/watch?v=5NZzn1nxVIE

James McCann & the New Vindictives – Bandcamp:

https://jamesmccann.bandcamp.com/

Michael Monroe – “Dead, Jail or Rock ‘n’ Roll”:

https://www.youtube.com/watch?v=5xdt3vqHyT0

Raspberries trailer:

https://www.youtube.com/watch?v=xNiEDetN9ik

Joey Skidmore – “Carnival Kids”:

https://www.youtube.com/watch?v=7D6ae3VV8V0

Sweet Apple – “World I’m Gonna Leave You”:

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

Symbol Six – “Pay Up Sucka”:

https://www.youtube.com/watch?v=Fdd2SLNFT6o

Travelin Jack – “Keep On Running”:

https://www.youtube.com/watch?v=5h4xrD0zbdQ

 

 

 

Michael Toland: Rockin’ Is Ma Business Pt. 3

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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.

CCcover

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.

ENUFF ZNUFF cl COVER HI

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.

Connectioncover

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.”

LittleMurderscover

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.

Muffs HBtM

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.

JHoylesCRLP035_Cover_3000pix

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.

HeathGreencover

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.

***

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