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Jeff Monk LP Reviews July 2017

The Inmates: The Albums 1979-1982 (Captain Oi!/Cherry Red Records)

During a recording career that is spanned in this 3CD box (1979-1982) U.K. quintet The Inmates managed to enjoy the succulent taste of chart success for a short but sweet moment. The band didn’t actually boast a unique sound for the time yet they successfully carved out a special place in the hearts of many post pub-rock music fans on both sides of the Atlantic. Considering the overt Dr. Feelgood/Rockpile vibe going on with this band they still had a lot going for them and that is what should get your money flowing in the direction of this set as soon as possible.

The box contains the first three albums in reproduction album jackets along with a 20-page booklet. Both “First Offence” and “Shot In The Dark” were commercially available at the time of their release but third album “Heatwave In Alaska” was only released in France due to a record company change at the time. As CDs the trio have only ever been available in Japan so to have them all together in one neat unit is a boon to fans, myself included. Each disc has bonus material.

“First Offence” contains their only (U.S.) hit single in the cover of The Standell’s 1966 garage rock stormer “Dirty Water”. The album was produced by the legendary Vic Maile (Motorhead, The Pirates, Dr. Feelgood, The Who) and there is no doubt that he felt the band under his guidance could become the new, younger Dr. Feelgood sans the personality and songwriting challenges that band presented. With guitarist/songwriter Peter “Gunn” Staines heavy on the pen “Mr. Unreliable” is a real standout here as it reaches back just enough to sound like old school garage rock yet has enough modern attitude to get high marks. The overt slow blues of “If Time Could Turn Backwards” finds the band in a distinctive mode yet one in which they sound completely comfortable and right. The album also features The Rumour horn section on a few tracks including the Feelgoods’ homage “Love Got Me”.

“Shot In The Dark” (1980) continues the themes of balancing Staines originals with fittingly cool cover songs. Obviously “Talk Talk” (origin. 1966 The Music Machine) was geared to replicate the success of the previous album hit “Dirty Water”. While the song is wonderfully done here it couldn’t duplicate the path cleared by the previous work and when the band was touring behind the album in the U.S. the murder of John Lennon found “SITD” pulled from playlists due to its unintentionally insensitive title. With their momentum stalled The Inmates returned to the U.K. to find that their label Radar Records had been folded into the monolithic WEA brand. There are a lot of great songs on this album including this writer’s personal favorites “Tell Me What’s Wrong”, “Why When Love Is Gone” and the memorably charming “Crime Don’t Pay”.

1982’s “Heatwave In Alaska” was only released in France likely due to the aforementioned label change leaving the band absorbed into a sea of talent that kept them at a tier below new label mates and heavy-hitters Rockpile, Elvis Costello and Nick Lowe. It’s a solid album nevertheless. The songwriting expanded to include drummer Jim Russell (“Three Little Sisters”) and bass man Ben Donnelly for the album opener “She’s Gone Rockin’”. Gunn/Staines again offers the albums’ best tracks: “Broken Hearted” a soul blues blend that singer Bill Hurley nails perfectly and the similar tough/tender “Unhappy Boy”. There are signs of the band extending their reach just a little here and new producer Stuart Colman (Shakin’ Stevens, Jeff Beck) did a good job attempting to modernize The Inmates.

In the end, as always, it comes down to being in the right place at the right time and The Inmates, sadly, missed those occasions by a hair’s breadth. For fans this box is a pleasant reminder of what could have been and a testament to the solid songwriting and sound of this band.

(Disc 1 – First Offence: 44 minutes/15 tracks, Disc Two – Shot In The Dark: 50 minutes/17 tracks, Disc Three – Heatwave In Alaska: 44 minutes/14 tracks)

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Jeff Monk


V/A: Night Comes Down – 60s British Mod, R&B, Freakbeat & Swinging London Nuggets (Cherry Red Recordings/RPM)

This expansive three CD collectors’ set aims to connect the dots between artists that may already be in your collection and the bands that they may have been members in the so-called “time before”. With pop music becoming hugely popular during the 1960s’ there were enormous quantities of young (and older) people working hard trying to get their songs recorded, pinning hope against hope that they could perhaps become stars in their own right. For a lot of the bands on this compilation the gold ring of wider success would be forever beyond their grasp yet when you cherry pick the best songs, as the seemingly untiring and wise John Reed has done on “NCD”, it feels as though the times were perhaps just a little unfair. The box set is so utterly extensive and wonderful that it’s rather difficult to drill any deeper than Reed and crew have done. The liner notes are detailed and include dates, places, times and players practically perfectly. Some of the names contained herein will be recognizable to even the most casual fans: Alexis Korner’s Blues Incorporated, The Moody Blues, Chad & Jeremy, The Deviants, Spencer Davis Group, Twiggy(!) and The Crazy World of Arthur Brown all made some waves beyond the U.K. scene. On balance though “NCD” digs deep into the vaults of long forgotten independent labels like Ember and President Records while the greats and near-greats like Decca, Track, Polydor, Parlophone and Columbia are here in full force as well.

While it is difficult to pick favorites when faced with a set that contains 87 tracks repeated listenings would have you loving some of these songs instantly while others will move quickly into the grower category. Obviously, those songs that feature players that moved on to bigger and better opportunities after these releases get the highest relevance rating for deep collectors. Look for names like future-state Deep Purple dude Ritchie Blackmore (Heinz and The Wild Boys), Motorhead man Lemmy Kilmister (The Rocking Vicars), early Manfred Mann-er Mike D’Abo (A Band Of Angels), Yes guitar god Steve Howe (The In Crowd) and Mott The Hoople and Bad Co. axeman Mick Ralphs (Doc Thomas Group). Having said that anyone that has any more than a cursory interest in collecting obscure freakbeat, R’n’B and instrumental music will be happy to find the specific nuggets they need here to further their awareness and perhaps even springboard off into more exclusive vistas of musical discovery. You too could become the next collector of rare The Gnomes of Zurich, Oliver Bone, Rusty Harness, The Brothers Grimm or The Clockwork Oranges singles and elpees!

(CD One: 30 tracks – 79 minutes, CD Two: 30 tracks – 79 minutes, CD Three: 27 tracks – 79 minutes).

Each CD comes in full colour cardboard sleeve with track listings plus 36 page full colour booklet featuring detailed notes on each track.

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Jeff Monk

Jeff Monk

Long serving music writer and hermit from the frozen center of Canada JM spends his days creating a pleasant environment for world class ballet dancers while a looping soundtrack of loud rock and roll music boils continuously in his head. This is something that can't be fixed. At your service. Now buy him a cigar and exit.

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July 12, 2017 By : Category : Blues Eyeplugs Features Front page Modernist Picks Post-punk Reviews Tags:, , , ,
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Jeff Monk Reviews – May 2017


Patto: Roll ‘em Smoke ‘em Put Another Line Out (Esoteric Recordings)

For their 1972 third album progressive rockers Patto pulled out all the so-called stops to try and get heard beyond their base, which in all honesty was thin on the ground. “Roll ‘em…” is a problematic album to say the least and a set that may not necessarily pull you onto the Patto bandwagon immediately. The album opens with a patently weird intro that tries very hard to be Zappa-esque but really only makes you wonder why they bothered when the song that follows is the splendid “Flat Footed Woman”. Here the band revels in their distinct sound pitched somewhere between Little Feat, The Band and early Elton John and his band. Of course vocalist Mike Patto and guitarist Ollie Halsall were always the centres of the action in this quartet with equal measure given to the raging, roll-filled kit work of drummer John Halsey. “Singing The Blues On Reds” is an ode of sorts to soul/funksters like James Brown with full debt paid to a stretched tight beat and interesting rhythm breaks showing Patto’s dynamic musical range perfectly. “Mummy” is an exasperating bit of spoken word nonsense that, if the band had any kind of direction back in the day, would have been left off the album completely. “Loud Green Song” stands as the best track here and if the band had leaned more in this almost punk rock/Social Deviants like direction one wonders how events may have turned out for them. On balance Patto on “Roll ‘Em…” is a talented band at lost tether as to a direction as they can’t settle on whether they are more about looning, lyrics or licks and in the end, this nullifies the record’s impact as a whole. Includes three 1973 vintage Peel Session bonus tracks not on the original album with 16-page full colour liner booklet.

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Patto: Monkey’s Bum (Esoteric Recordings)

While Patto’s direly titled 1973 album “Monkey’s Bum” was never officially released at the time it perhaps should have been. The awkward humour of the band has been dialed back here and what remains is an excellent set of tracks that deliver Mike Patto’s voice in a tonal range that he sounds comfortable in. The songs are less complicated and actually provide an improved sense of the bands’ strengths and don’t lose impact due to overly complicated musical arrangements. Opener “My Days Are Numbered” is a jazzy driver that leads into the solid trio of Randy Newman’s “Last Night I Had A Dream”, the radio-ready “Sugar Cube 1967” and the energetic “I Need You”. “Good Friend”, with its Elton John-like atmosphere is another track that would have suited radio well at the time and the Halsall penned and sung “Sausages” is further proof that this guy could have been at least a firm pub rock contender if the era had only been a little different for him. Three sonically dismal live 1973 Peel Session bonus tracks round out this hidden gem of an album. It made perfect sense that Patto broke up at the time of “Monkey’s…” non-release. Each of these sets shows a diverse crew ready and able to succeed yet without a method to distil what they did best into a tangible vision on vinyl.

(Roll ‘Em…:11 tracks – 60 minutes, Monkey’s Bum: 13 tracks, 52 minutes. Both remastered and expanded)

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Ritchie Blackmore’s Rainbow: Stranger In Us All – Expanded Edition (Cherry Red Recordings/HNE Recordings)

For this particular 1995 slice of the enormously convoluted Rainbow pie leader, Ritchie Blackmore again formed a new band and singer around himself to see what would come of it. Indeed “Stranger…” is pretty solid album when you actually disentangle it from the times that it was created and take a discerning look at its’ remaining pluses and minuses as a melodic, hard rock set. The band (Paul Morris/keyboards, Greg Smith/bass, John O’Reilly/drums and over-emotive singer Doogie White along with Blackmore squeeze Candice Night on BVs) are to be commended for working hard on these tracks and although for the entire album it does sound like the old Man In Black – U.K. Version is rather phoning in his contributions a great deal does work. Opening track “Wolf To The Moon” features plenty of fiery licks and a few informal whammy bar dive bombs by Blackmore while White sets the tone as Ronnie James Dio Mk. IV. With so-called “grunge” music floating everyone’s commercial musical boats as it were at this time there is a sense that “Cold Hearted Woman”, the Zeppelin-esque “Hunting Humans (Insatiable)” and the opening of the Kashmir-like “Ariel” could have been contenders for radio play if the band had not been under Blackmore’s complete and some would say worn-out musical vision. “Too Late For Tears” sounds like any fluffy American metal from the mid-nineties but as a polar opposite “Black Masquerade” has all the pure Rainbow elements fans would expect. Replete with economical keyboard strings effects and Blackmore’s gothic solo at the outro adding gravitas to this burner this track should be a stand-out for fans. Electric Light Orchestra and The Yardbirds recorded versions of Grieg’s “Hall Of The Mountain King” and “Still I’m Sad” better respectively but since Blackmore was inches away from going full Renaissance Fayre with his music (see: Blackmore’s Night) these songs foreshadow what was to come. The three bonus tracks are rarities for and include an originally Japan only take of “Emotional Crime”. Nicely packaged with interesting liner notes including a personal account essay by Doogie White.

(13 tracks CD – 66 minutes)

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Jeff Monk

Long serving music writer and hermit from the frozen center of Canada JM spends his days creating a pleasant environment for world class ballet dancers while a looping soundtrack of loud rock and roll music boils continuously in his head. This is something that can't be fixed. At your service. Now buy him a cigar and exit.

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May 22, 2017 By : Category : Eyeplugs Music Picks Reviews Rock Tags:, , , ,
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The Orders – If Gold Dust Turns To Stone

The Orders are a young three-piece creating waves currently on the Isle of Wight and way beyond. With recent BBC interest and a double appearance at the recent Isle of Wight Festival including a stint on the main stage, things are looking rosey for these ‘Caulkheads’ (please feel free to google that one and no it is NOT a type of drug!).

We had a  nice fresh signed copy of ‘If Gold Dust Turns To Stone’ on chunky 7-inch Vinyl, wrapped in a cool sleeve drop through our letterbox, recently and it went straight onto the turntable, and after several spins a Summer smile finally appeared on this cynical old face.

Kyle Chapman (guitar and vocals) seems at present to be the main songsmith for the Orders with shards of Telecaster guitar chopping into the fray with tidy support from the throbbing, wandering, bass-punch of Issac Snow (Bass & Backing Vocals) with the entire thing held together with the safe time-keeping of Joe Rowe on (Drums & Percussion) who for his age is a mighty fine drummer!

The A-side track, ‘If Gold Dust Turns To Stone’  has an energetic youthful vibrance with a ‘surf’ style twang here and there and a solid indie-sike- pop feel with mixed hints of The Kaiser Chiefs, The Stone Roses, The Artic Monkies, The Who, The Jam, all mashed up as influences, but with a nice dreamy twist. I even recalled a glint of ‘Crocodiles’ era Bunnymen and very early Cure, in there, as the nice space in and around this track with layered backing vocals added a lift and a confidence for even brighter things ahead. It would be great to get the Drummer Joe to add into making, even more, 3-part harmonies central to their sound and identity. The folks at Humbug Studios seem to have caught a moment in time nicely too!

The sound has a tinge of 1960s Freakbeat, West-Coast Sunshine Pop, and mixes that with a dose of gritty Britpop. They certainly have a poppy appeal that spills over onto the B-side track ‘Time Ran Circles’ which has a Roses’ style outro interplay at the end which illustrates how this band have already absorbed tons of melody, harmony and rhythmic spirals that will no doubt come out into their set list in the future.

So this gets a firm thumb’s up from us here at Eyeplug and we look forwards to seeing and hearing more from them soon!

Web Links

facebook.com/theorders
soundcloud.com/the_orders
Instagram – @the_orders
Twitter – @the_ordersuk

Buy record here – paypal.me/TheOrders £8.50 including p&p

 

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Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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July 13, 2016 By : Category : Indie Modernist Music Picks Pop Psychedelic Reviews Tags:, , , ,
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Event – The John Steed Ball

Count Indigo is a versatile pop singer, performer lyricist and compere of surprising vocal and aesthetic range. His music encompasses smooth baritone soul grooves, dark falsetto dance rhythms and exhilarating orchestral arrangements. The uniqueness of his approach to music – making comes out of combining mature themes of joy and betrayal and with a beguiling soulful accessibility. A decade of acclaimed nightclub & festival performances all over Europe and honed an intimate, humorous showmanship personified in his album, Homme Fatale.

He also is a well known Events designer, host and promoter, we spoke to him recently about his John Steed Ball Event.

01. Please tell us how your Year has been so far?

I really enjoyed performing on NYE at Vintage at Southbank. Its my third year there running and the balcony view to the Thames firework display is a fabulous way to see in the New Year. 2016 will be very exciting for Count Indigo!

02. Tell us about your current outlook with Song Creation and Writing?

I wake up with morning sickness these days! I have so many new songs written during 2015 ready to go! Impossible Dream and Bruton Street will certainly make people sit up and take notice in 2016!

03. The John Steed Ball… what’s the big idea here then?

The Avengers duality of conservatism and subversion has been an inspiration to me and millions of others. When Patrick Macnee died last Summer I just felt it would be great to mark his passing with a dinner-discotheque extravaganza that would celebrate his continuing international cultural impact. He’s the most famous British adventurer after James Bond and Sherlock Holmes. And definitely the one who’d be the best company!

04. What Entertainment can we expect to frame this very special evening?

There is a fantastic three course dinner a la carte. They’ll also be performances from yours truly, Catsuit-A-G0-G0! and The Jet Set International.

05. What is the setting and Venue like?

It’s all in the penthouse lounge bar and restaurant of Eight Club Moorgate. It’s the usual venue for my club Mrs Peels with the addition of an international standard restaurant and the usual heated balcony views across the City of London. All in all, pretty spectacular.

06. Do you have any special guests planned?

The highlight will be musical performances and speeches from Avengers co-stars Peter Wyngarde, Aimi Macdonald and Fenella Fielding. They’ll also being doing a lively Q & A session with the dinner guests.

07. What is the John Steed Ball in aid of?

The beneficiaries will be Patrick Macnee’s favoured charity The Actors Fund who look after those in need throughout the entertainment business and Medicinema who organise film screenings for patients in UK hospitals.

08. Would you say this is a good place for Local Businesses to network and hob-nob?

Eight Club is actually a private club for business people so its built for hob-nobbing! 5*Hotel levels of service and comfort in a lounge nightclub setting. Luxurious armchairs combined with a pulsating dancefloor – come along and join us for something special and unique!

09. What is the Soundtrack & Themes for the dancefloor and tell us about the special guest DJs?

The varied musical template is 60s international Jet Set sounds. Music to transport you to a glam dancefloor in St Tropez , Macao or Rio with a vibrant Swinging London beat. All set to a groovy soundtrack from the brilliant DJ Martin Green. A man with over a dozen extraordinary compilations of incredible pop, soundtracks and library music.

10. Where can folks buy their Tickets from?

Early bird tickets from £40 – £140 are now available here: GET TICKETS HERE

11. I hear that you have a rather clever Contest wherein folks can win a nice Prize? Is that ready to enter?

Yes, winners get free entry to the night and runners=up modernist art prints of The Avengers stars. ENTER THE CONTEST HERE

12. What did John Steed, Mrs Peel and The Avengers mean to you and why did it leave such a lasting Impression?

Its the combination of the surreal and the everyday that does it for me. Rodney Marshall who is making the keynote dinner speech describes it simply as the joy of Subversive Champagne. A combination of cool, ironic derring-do and with a gender equality that was incredibly progressive for 50 years ago! The smart dialogue, martial arts, kinkiness and catsuits might help too!

13. Do you think many programmes in Modern Media compare in any way?

There’s a very direct line to say Buffy The Vampire and even David Lynch. Whilst in the U.K. the knowing re-inventions of Doctor Who and Sherlock definitely owe The Avengers a lot.

14. What have you in mind for Count Indigo in 2016?

To release my excellent new music. Take Mrs Peels Club from strength to strength. Perform with Count Indigo Revue.

15. Can you tell us a post-festive Joke please?

What do you call a man who claps at Christmas? Santapplause! I’m opening a Gym for 2016 recreating Victorian techniques for dispatching ruffians with a walking stick. It will turn into Cocktail Yacht Club by the Spring!

admin

Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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January 4, 2016 By : Category : Culture Events Eyeplugs Interviews Nightlife Picks Vintage Tags:, , , , ,
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The Runaways – Scenester Reviews

The Runaways (Cherry Red Records CDMRED 237)

Girl groups are nothing new, and this was also true back in the mid-70’s, when a gang of teenagers kicked their way through the walls of the male-dominated music industry and staked their claim to rock immortality. Managed by the notorious Kim Fowley, equal parts Svengali, hustler and guide, Cherie Currie, Lita Ford, Jackie Fox, Joan Jett and Sandy West strapped on their guitars and took the boys on at their own game. Numerous line-up changes followed in their brief career, but it’s the first US LP our friends at Cherry Red have reissued here, and it’s this CD reissue I’ll confine my comments to.

The girls hit the ground running with ‘Cherry Bomb’, a lurking, threatening rocker that refuses to take ‘no’ for an answer, turning from a slow tease in the first three verse lines, to the haggard screech of a crone in the last. Ecstatic moans punctuate the song, ending on a glorious, Sweet-style metallic echo.

The hard, aggressive blues opening to ‘You Drive Me Wild’ leads into a straight ahead rock ‘n’ roller penned by Joan Jett, full of one-on-one sexual promise, an alternating riff and spiced up with plenty of yelping vocals and more and more ecstatic moans.

The glam racket of ‘Is It Day or Night?’ is another winner, from the pen of Kim Fowley, portraying the low-life ennui in the aftermath of a night – or a lifetime – spent pursuing life’s more hazardous pleasures. With lyrics like ‘Novocaine Lips’ and some great, crashing false endings, what other decade could this song have come from?

Proving that the basic rock riff always holds good, ‘Thunder’ takes us on a classic journey through love, drawing on age-old imagery of natures’ indomitable powers, held together with an insistent bass riff and Cherie’s voice handling the melody well.

Mention 70’s sleaze and the blue mask of Lou Reed makes its spectral appearance on the studio wall. The Runaways’ fine take on Lou’s eternal ‘Rock ‘N’ Roll’ has some surprisingly funky elements thrown in for good measure, nice bass runs, cowbells and some dry-throated screams to take it far enough away from the original to make it a true cover version, and not the usual obligatory tribute.

Cherie’s voice is loaded with suggestion in ‘Lovers’, a demanding, teasing song from Jett and Fowley, with a kiss-off that demands a reply.

Lou seems to have been implanted into the band’s DNA, if ‘American Nights’ is anything to go by. A distant relative of ‘Sweet Jane’, with fuzzy guitars proving a nice touch, in a characteristic song of youthful, dangerous adventure.

The basic two-note riff and Joplin-style shriek which opens ‘Blackmail’ gets your attention without any effort. A hard and nasty fuzz guitar solo in a song as literal as it is effective, Cherie’s voice ranges from a rough growl to a hacking cough as she spells out the terrible fate her former lover will face.

The Rolling Stones’ style opening riff of ‘Secrets’ sets the scene well, a tale of deceit and double lives with a whiff of the forbidden about the relationship. The feedback lead out is subtly handled, and a first on the LP.

A great, chugging bass line and a nasty/sexy voice opens The Runaways’ ‘Dead End Justice’. Basically a 1950’s style female juvenile delinquent film script, set to high-octane 1970’s rock music, with lyrics as hard as cheap nails; it’s the perfect (getaway) vehicle. Even the imaginary film title hides in the lyrics, ’Dead End Kids In The Danger Zone’ as our teen protagonists go from teasing the boys in their skin tight jeans and provoking fights, all in one brew and pharma-fuelled night. The inevitable come-uppance lands the pair in jail, at the tender mercies of police, wardens and other prisoners. Our girls plot their escape their voices a low whisper, but… Well, I’ll let you guess the rest if you’re too mean, or too snobbish, or just too plain dull to buy the LP. It’s a magnificent way to end, full of the 70’s ambitious stage-stylings, youthful swagger and later, the desperate nostalgia for an era they were too young to remember, and the girls bring it off brilliantly for the age it was minted in.

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Scenester

Scenester

Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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September 29, 2015 By : Category : Front page Garage Glam Music Picks Punk Reviews Rock Tags:, , , , ,
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The Incredibly Strange Music Box: LP Review

The Incredibly Strange Music Box: 60 Songs from The Cramps’ Crazy Collection (Righteous Psalm 23 85D)

CRAMPS CRAZY COLLECTION

Anyone picking up this monster compilation has probably already guessed that legendary schlock horror rockers The Cramps didn’t get their chops from listening to Eagles LPs. Come to think of it, they probably didn’t learn their licks here either, but the inspiration behind their scuzzy 60’s rock ‘n’ roll formula lurks in the bit stream of this double CD.

First up, one of the more familiar names of Rock n Roll history, Mickey & Sylvia treat us to their jittery, battle of the sexes washboard shuffle, ‘No Good Lover’. The Collins Kids’ innocent-sounding name leads us into a false sense of security, ready for their licentious ‘Whistlebait’, with a strangulated boy (or is it a girl?) vocal. Skip Manning’s basic Elvis grunt is enriched with fine distorted guitar on ‘Ham ‘n‘ Eggs’, a slightly comical take on the ‘We go together like…’ simile beloved of songwriters.

Smokey Joe’s Fats Waller-like croak provides a suitable voice for the crazy jungle rhythm of   ‘Signifying Monkey’, a ditty that’s less than the sum of its parts, although easily the best song title here. In our more sensitive age, we would probably baulk at ‘Stutterin’ Cindy’s mockery, but it’s easy to guess why Lux Interior would have liked this Charlie Feathers song.  The familiar scrape of plectrum on steel guitar string signals the appearance of the great Bo Diddley, in a steady rocker, ‘Congo’, with a heady infusion of exotic jungle atmosphere.

The hurtling comedy of The Aladdins’ harmony piece, ‘Munch’ comes on like an even dumber ‘Give Me Back My Bubble-gum’, and with a crazy sax break cranking it higher. The sax is downright salacious on Joe Dodo’s ‘Groovy’,  but we get a chance to cool our heels and our ardour in Jim Backus & Friend’s ‘Delicious!’, a sort of guffawing, Stateside take on Champagne Charlie furnished with an equally bibulous female companion. Sticking with the inebriate theme, we get a fairly standard country whine, ‘Here I Am Drunk Again’, from Clyde Beavers.

Sparkle Moore’s ‘Skull and Crossbones’ has our tough gal giving her man a good ticking off, and how easy it is to imagine the young Poison Ivy Rorschach hearing this little gem and filing it away under ‘Personal Style’. Rusty Draper’s stammering vocal on the banjo-driven country stomp ‘Tongue Tied over You’ might have been a little too much for the age it was minted in, but has its moments. Charlie Ryan & The Timberline Riders’ ‘Hot Rod Guitar’ is a steady roller with nimble fretwork, but there’s not much here to elevate it above the usual fare.

The Sheiks’ ‘Baghdad Rock’ instro is an obvious Cramps favourite, with its ‘The Walk’ style beat and weird, haunting horn. The Duals’ stormy ‘Lovers Satellite’ has a crystal clear guitar solo to clean the eardrums out, and The Invaders ‘Shock Treatment’ comes on like a lost Jo Meek track, all ghostly calls over a standard surf backing. Freddie & The Hitch Hikers’ ‘Sinners’ makes good use of a not-so-heavenly chorus, in this sermon-infused chugger. It would be nothing but a low swindle to leave out ‘Tequila’, and it’s ‘The Three Suns’ take which does the honours here.

A solid hint of menace and some icy-cool guitar work in The Ventures’ ‘Green Onions’, followed by a Billy Fury-like moody vocal performance from Gary Warren, in ‘Midnight Rain’, a memory song with a whispering chorus that provides two high spots in a row on this first disc. A genuine, murmuring blues with brooding guitar, in the form of Kenyon Hopkins’ ‘Let Me Out’, takes us deftly into a crazy rocker with heavily distorted guitar and primitive lyrics in ‘Hot and Cold’ by Marvin Rainwater.

Hank and the Electras’ ‘Get Lost Baby’ is a tepid little number, in spite of its great title, but redemption is on the way with The Bikinis’ ‘Crazy Vibrations’ a rattlesnake-like sound, with tinkling piano behind and a snaky, pumping sax with deep twangy bass fattening up the beat. Those of you with a taste for low-end comedy will love Jerry Neal’s ‘I Hates Rabbits’, but we’re soon into the truly inspired ‘Twistin’ In The Jungle’, Buddy Bow’s near-horror movie soundtrack with its bonkers bongos and brass.

James and Septette’s ’‘Congo Elegy’ comes on like a perverse Bobby ‘Boris’ Pickett out-take, with a mambo struggling to get out of the piece, and desperate, salacious lyrics. A standard Bill Haley-o-like beat for ‘Tarzan’ from Glen Reeves & His Rock-Billys, and to end this disc, two songs entitled ‘Voodoo Doll’. The Interiors (dig that name…) piece is an R ‘n’ B chugger and Glenda and Glen’s has an unnerving female vocal and random raindrop sound in the bass that does the job the more effectively of the two. (Heard that name before somewhere, too.)

The innocent sounding Buddy Holly-ish performance of ‘Straight Skirt’ by Gene Summers that opens the second CD belies the rather lecherous subject matter. The Ventures are in fine form in ‘Bumble Bee Twist’, picking their way precisely through a ‘Man of Mystery’ style riff. The Romans’ ‘Uh Huh’ is every bit as primitive as the title suggests a crazy piece of exotica, chugging guitars and exclaiming sax. Art Wood’s hillbilly hiccupping on ‘My Jib’ is a little too stereotypical to satisfy. The fast, jazzy rock ‘n’ roll and sax craziness of Sil Austin in ‘Fallout’ is far more pleasing to the ear.

Charlie Feathers’ ‘Wild Wild Party’ shuffle has its moments, as does Gene Simmons and the Rebels’ ‘Twixteen’, an Eddie Cochrane-a-like treatment of a tale of perilously young sexual allure. Martin Denny’s ‘Misirlou’ uses creepy woodwind and drum brushes hissing their snakeish rhythm in a very different take on the classic tune.

The Forbidden Five show us why they’re called so, with their bongos, animal noises and weird Eastern/Western rhythms in ‘RFD Rangoon’,  and continuing with the Eastern stylings, Preston Love and Orchestra serve up a tasty slice of exotica in ‘Ali Baba’s Boogie’. The Bambinos’ ‘Algiers’ is another entry in the downright disturbing category, and Marvin Rainwater’s distorted echo sounds like it was produced with some species of elastic band, on his bizarre ‘Boo Hoo’. Dick Penner’s ‘Cindy Lou’s slightly mocking guitar notes and sinister twang perfectly suit this borderline suggestive song. Skip Manning’s ‘Devil Blues’ is more big band than bottleneck, with its ‘behave or face the consequences’ message.

The Red Callender Sextet offer up more exotica in ‘Voodoo’, and Garry and Larry’s hard driven ‘Garlic Bread’ is by way of total contrast.

Moving into the Red Zone, The Blenders’ ‘Don’t F*ck Around With Love deliver the doo-wop  song sweetly, making the profanity all the more of a surprise, but The Empallos’ ‘Hi Cups’ mighty sax creep is true instro-salaciousness.  The Midnighters’ rock ‘n’ roller ‘Sexy Ways’ fully lives up to its name.

‘Gumbo’ by Shades of Rhythm has a loose, crazy feel, and The Voxpoppers ‘The Last Drag’ has a screechy-voiced treatment with the faint air of Fats Domino about it. Roland Janes’ ‘Guitarville’ has the fabulous spacey twangy bass and subtle, tapping drums of a surf classic. The Ventures’ ‘Ginchy’s faintly Neo-Classical high-note guitar workout pleases, and Spot Barnett’s loud, brash, Rock ‘n’ Blues ‘Sweetmeats’ is enlivened by a wavering sax. For my money, the standout track here is ‘Young William & The Jamaicans’ urgent, echoed ‘Limbo Drum Part 1’. Ike Turner Orchestra’s ‘Cuban Get Away’ seems a little too far removed from Ike to be all his work. Our CD selection closes with Bobby Rhines and the Rogues’ call-and-response  festival, ‘Port Zibee Part II’ and Tommy Mercer and the McBrides’ ‘Volcano Rock’, a left-field rock ‘n’ roller with enough sound effects to make even Joe Meek blush.

What’d’ya mean, you’ve got ‘em all?

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Scenester

Scenester

Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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July 20, 2015 By : Category : Cult Front page Music Picks Punk Reviews RnB Rockabilly Tags:, , ,
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Patrick Macnee – Obituary

Mrs Peel We’re Needed!

The sad passing of Patrick Macnee, the star of the legendary cult TV show The Avengers has no doubt left fans of the show in mourning. According to reports Patrick Macnee died peacefully on Thursday at his home in Rancho Mirage, California with his family by his bedside.

Patrick Macnee died at the age of 93 and was arguably most famous for his brilliant portrayal of the quintessential English eccentric secret agent John Steed in the ‘’Spy-Fi’’ television series in the 1960s. However, Macnee made over 150 appearances in television and film, which spanned across 5 decades and he also had a distinguished military career as a seaman in the Royal Navy during World War II.

Patrick Macnee became indelibly linked with the character John Steed as Macnee came across as a well-spoken, witty, and charming old school English gentlemen much like his alter ego in The Avengers. For fans of the series Macnee and John Steed were almost inseparable, and he acknowledged this in 1967 when he said in an interview that ‘’I know the part of Steed was created for me, and it was developed from my own background and personality, but I am still a long way from being typecast’’.

However, fact and fiction often get blurred in these scenarios, and need to be separated in order to get a clearer picture of Patrick Macnee’s life prior to his most famous role.  Macnee was born in London in 1922 and was raised in Berkshire by a wealthy and somewhat aristocratic family. Despite this seemingly privileged lifestyle there lay family dysfunctionality, which came in the form of his eccentric father and lesbian mother. His father Daniel Macnee trained and bred horses, but his extra-curricular activities included heavy drinking and gambling, which saw him whittle away the family fortune. The young Macnee was then raised by his newly divorced mother Dorothea Mary and her lover.  Macnee would later attend Summer Fields School in Oxford followed by a stint at Eton College, and it was at Eton that he developed a burgeoning taste for life in the performing arts.

It appeared that Macnee’s acting career took the traditional route of theatre, television and films. However, it seems that Macnee’s early foray into television did not run smoothly and he landed peripheral and unsatisfying roles in films such as Pygmalion in 1938. His role as an extra in this film set the immediate template for his acting career, which stagnated to some extent and was cut short altogether with the onset of World War II.

Macnee was enlisted into the Royal Navy in 1942 and the carnage that he witnessed in WWII, including the death of close friends prompted him to famously resist using a gun in The Avengers, despite protestations from the producers of the show. Once he completed his military service he won a scholarship to study at the Webber Douglas School of Dramatic Art. He subsequently resumed his acting career and appeared in minor roles in films such as The Life and Death of Colonel Blimp (1943), and as young Jacob Marley in A Christmas Carol (1951), and the musical comedy Les Girls (1957).

Perhaps it was these more minor roles, which led Macnee to try his acting luck in the United States and then Canada with the Old Vic Troupe. However Macnee landed only small and somewhat inconsequential roles in television and films. When Macnee returned to the UK he landed a role as a producer on the Winston Churchill themed documentary The Valiant Years in 1960 and within a year his acting career would be relaunched in spectacular fashion when he was cast as John Steed in The Avengers.

When Macnee was cast as Steed in The Avengers in 1961 he was in a supporting role as the show initially focused on Dr David Keel played by Ian Hendry. It would be fair to say that The Avengers in 1961 bared little resemblance to what the show eventually became famous and much loved for. As a viewing spectacle these early episodes of The Avengers were plodding, staid and devoid of any sense of  real irony or subtle humour. It was the irony, innuendo and wit that characterised the series in the mid to late 1960s so splendidly. But what sent The Avengers into a whole new spear of popularity in 1962 was Macnee assuming the lead role after the departure of Ian Hendry, and pairing his alter ego Steed with a succession of assertive, independent and intelligent female assistants.

It was a stroke of genius on the part of the producers to team Steed up on an equal footing with a female, who more often than not came to his rescue when he was in trouble. The succession of actresses to assume the joint lead role included Honor Blackman, Dame Diana Rigg, and Linda Thorson. The Avengers became very popular when Steed was paired with Cathy Gale played by Blackman; however the show became a runaway success when Steed was paired with the delectable Mrs Emma Peel (Dame Diana Rigg) in 1965.

John Steed and Emma Peel became arguably one of the most identifiable and charismatic double acts ever seen on television. Both characters had chemistry between them that was magical and utterly irresistable to watch. The witty dialogue and innuendo, which was playful, light hearted and often flirtatious was part of the appeal for viewers as more often than not there was the suggestion of romance between the two characters

They were indeed a match made in television heaven as viewers were treated to fantastical story lines and surreal visuals that were stunningly brought to life when colour episodes were introduced in 1967. Macnee was also a style icon in his own right and his alter ego Steed was always impeccably dressed in Saville Row and Pierre Cardin designed 3-piece suits, beautifully tailored shirts and a cravat or tie. Part of the allure for fans of The Avengers was the stunning clothes worn by Steed and his female assistants. His immaculately tailored suits and his legendary bowler hats and umbrellas set this dandy far apart from everyone else in the sartorial stakes.

Macnee and Rigg became so famous in their roles that they must have been in danger of being type cast. It must have been almost impossible for viewers at the time to digest the news that Rigg was standing down from her role as Emma Peel in October 1967. Her final appearance in Forget-Me-Not coincided with the introduction of Steed’s latest sidekick Tara King played by Linda Thorson.

The tear jerking final episode sees Emma Peel say an emotional goodbye to Steed with the quip ‘’always keep your bowler hat on in times of stress’’, which added a comic and poignant finale to one of television’s greatest ever double acts. Emma then gets into her car with her bowler hatted husband Peter (who bears a remarkable resemblance to the on looking and bemused Steed) and glances back at Steed with a wry smile on her face, and it is this final knowing glance at Steed and then her husband, which confirms that her ideal man all along was someone who was the mirror image of Steed.

The Avengers would continue until 1969 and Linda Thorson as Tara King had the unenviable task of trying to fill the massive void left by Diana Rigg. The relationship between Steed and his new cohort was even more flirtatious, suggestive and innuendo laden than ever before, but sadly for Linda Thorson her character was a little subservient and often came across as vulnerable and silly, which undermined the character and was the antithesis of her predecessor. However, by 1969 the show ran into financial difficulty when it lost the backing from ABC in America. The producers reluctantly decided that The Avengers could not continue and the so called last ever episode Bizarre was screened in May 1969.

Macnee would eventually reprise his role as the much loved John Steed in The New Avengers in 1976, and this time he was assisted by Purdey (Joanna Lumley) and Mike Gambit (Gareth Hunt). Although the show was very popular with viewers it failed to recapture the magic and humour of the original series. Although there was chemistry between the three characters it rather felt like the show should never have been resurrected as The Avengers was a quintessentially 1960s show, and all the avant-garde ideas of the original Avengers was sadly never repeated in the latter carnation of the show, and the series came to an end in 1977 after a run of 26 episodes.

Macnee’s other significant acting roles included parts in Battlestar Galactica (1979), This is Spinal Tap (1984), A View to a Kill (1985) and Around the World in 80 Days (1989). However, Patrick Macnee will forever be remembered for his brilliant portrayal of the bowler hatted and umbrella wielding eccentric British secret agent John Steed, in one of the most influential television series ever made in the UK. The Avengers enduring popularity ultimately lay in the casting of a pair of fabulous characters in John Steed and Emma Peel. The brilliant portrayal of the eccentric, stylish, witty and lovable spy John Steed will keep the memory of Patrick Macnee alive in the hearts and minds of fans of The Avengers for many more years to come.

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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June 29, 2015 By : Category : Articles Cult Culture Eyeplugs Front page Heroes Media Picks TV Tags:, , , , , , , , , , , , , , , , , ,
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Brian James: LP Review by Colin Bryce

Brian James: The Guitar That Dripped Blood (Easy Action)

Brian James’ distinctive guitar tone, riff-craft and sonic song-writing style is on full alert here on this new one from Easy Action. Ten top tracks that echo the Damned, Stooges and James’ own previous solo classics (Tanz Der Youth, Brains etc) and that push this one hard. James doesn’t handle all the lead vocals here though – it makes little or no sense to me that James would have anyone other than himself sing. His charismatic drawl is everything that these songs need. Guest vocalist Adam Becvar (4 tunes) sounds similar enough to be unnecessary and but different enough to want to hear James back taking the lead. This is a rough and ready release and guest guitarist Cheetah Chrome grinds it out with James on ‘Becoming a Nuisance’ just to add that little bit more Stoogey-grind so beloved by both guitarists. (10 tracks.)

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Colin -Mohair Sweets- Bryce

One of Canada’s late 70’s “punk” rock crowd and from 1997 to 2007 the fellow behind Mohair Sweets print and webzine. Currently passes the time by playing the odd gig or two, shaking his head, wringing his hands and pondering whether or not the tape vaults of the legendary Pirates are really exhausted.

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June 5, 2015 By : Category : Eyeplugs Front page Garage Music Picks Post-punk Punk Reviews Tags:, , , ,
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The Montecristos: LP Review by Colin Bryce

The Montecristos: Born to Rock‘n’Roll (Easy Action)

Its rock‘n’roll fetish time! Big ‘ol guitars! A blazing (all gal) horn section with a stand-up bass pumping the bottom of that primitive rockin’ rhythm to get ‘em out on the floor. Add a pile of peroxide and pomade, a little bit of leopard on your strides and some suggestive late-night ideas from vocalist/guitarist and front man Neal X and you’ll have a pretty good idea where London’s Montecristos are coming from. Fronted by former Sigue Sigue Sputnick and Marc Almond guitarist Neal X this six piece outfit has got the show going. Plenty of 50s glitz and gonzo with the occasional nod to the swingin’ 60s (the Rascal’s “Good Lovin’”) and with Marc Almond as featured guest vocalist on Vince Taylor’s well-known classic “Brand New Cadillac”. Like “Good Lovin’” it could probably have been swapped out for one of the band’s originals or something a little more uncommon but they may very well help with getting some friendly radio play. I was very pleased to see the great rock writer Nina Antonia listed as co-writer on the title track “Born to Rock’n’Roll”. No doubts here – the Montecristos are rockin’ it. (14 tracks.)

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Colin -Mohair Sweets- Bryce

One of Canada’s late 70’s “punk” rock crowd and from 1997 to 2007 the fellow behind Mohair Sweets print and webzine. Currently passes the time by playing the odd gig or two, shaking his head, wringing his hands and pondering whether or not the tape vaults of the legendary Pirates are really exhausted.

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June 5, 2015 By : Category : Blues Eyeplugs Front page Garage Modernist Music Picks Reviews Soul Tags:, , , , ,
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Vic Godard – 30 Odd Years (Part 2)

Welcome to the second part of the Vic Godard – 30 Odd Years review.

DISC TWO

01 We’ll Keep Our Chains

A Bolan/Bowie-esque fuzzed out Glam start to Disc Two with a super catchy singalong with soaring soulful backing vocals that underpin this feel-good anthem! Wow, what a start!

02 Common Thief

With backing Vocals via Janan Kura and Sez Pistols legend, Paul Cook on Drum duties this track builds into a mini Northern Soul style Masterpiece with an  inspirational Doobie Gray stomperlong that mirrors loves’ true ups and downs!

03 I Wish

A classic classy track written by the magical Billy Taylor and Dick Dallas team, with old friend Edwyn Collins on production control and also Bass, Backing Vocals and bits of corking Guitar work make this milestone track once dealt with by none other than giants such as Nina Simone and Solomon Burke, and even with an instrumental cool jazz version used by Barry Norman’s Film Review Show, which was as genuine, honest, heartfelt and bullshit free as this version.

04 The Writers Slumped

Off on a big tangent next with this angular P.I.L meets Rolf Harris whilst attending a Freestylers’ Dub-Step Show work-out that again shows that Vic and the Crew can do as they damn please!

05 Back In A Void Agian

A Stonesy/Bolan/Primals feel to this one with an Art-rocker snarl and just enough bite to hit home!

06 At The Circus

‘Singing In A Circus Ring’ exhales Vic as ringmaster with this catchy, clever Cha Cha Cha choon, with plucky plucked Melodies weaving and bobbing and the Sawdust hiding all manner of secrets!

07 Americana On Fire

Almost a spoken word chaotic intro with a Cash meets Clash via the Magic Band evoking a sorta drunken Tequlia border party, with great added Spagbowl-Western Postman style whistling!

08 Ambition

Originally released as a 7 inch instant spikey classic in 1978 via Rough Trade, this was and remains one of my own personal fave, cherished possessions and still to this day makes the grey hairs stand up on the back of my neck (when once they were dyed jet black). The version icluded here is an alternative live sounding lolling rolling punky bluesy mash-up, which captures the fun and art but could never be a patch on the single version of course. I remember Billy Childish once stopping a show as he had spotted Vic in the crowd to say heartfelt words to the affect of ‘Thanks for ‘Ambition’ Vic, British music went downhill after that record!’ He really may have a point!

09 That Train

Localised references to Mortlake Station drive this garage-skiffle explosion that includes strange and painfully held long beyond long notes towards the jumbled conclusion. Short sharp and rollling! Taken from 2010s ‘We Come As Aliens’ LP.

10 Stool Pidgeon

Can be found also on the 2009 ‘Live In Stereo’ Collection and builds to a classic Indie Rock style affair as good as any of that ilk!

11 Why Did You Shoot Me?

Begins with a Talking Heads type feel, choppy, bouncey, angular and frenetic. Also taken from the  ‘Live In Stereo’ Collection.

12 Derail Your Senses

A stop and start no-wave yarn that seems to confront delusion, confusion and the mystery of reality. It manages to make sense somehow.

13 Not Watching The Devil

Really great rounded Drum sound on this Elvis style rocker also from the  ‘Live In Stereo’ Collection that buzzes along with excellent artful production from Murray Robertson and some sterling guitar work!

14 Imbalance

The opening track from 1993s ‘End of the Surrey People’ LP which has a slight Blur-esque feel and pace which was very much of it’s time in many respects. The guitar and bass weave through each other in this instrumental piece that sets up that LP nicely!

15 Blackpool

A George Formby style beano to the great traditional ‘British Northern Seaside Resort’ which shows Vic and the gang can capture a unique blend of pathos, fun, humour, irony, cheek, wit, honesty and nostalgia all in one place and space. Clever, charming, catchy and warming. Dada meets Music Hall and they have an ice-cream whilst paddling. Simply smashing and make you want to take a boozey punt of the Doney rides!

15 T.R.O.U.B.L.E

Troubled romance is in the air, daydreams escape to pastures anew, being kept on your toes spelt out clearly a la title! Curls of brass and vibes pinpoint the hooks with a perfect rhythm section that builds the atmosphere wherein danger lurks! Another cracker!

16 The Wedding Song

Bossa Nova romance with heart strung violins, plucked tickled tones, and breezy accordians in a sort of surreal Dean Martin romp in the sunshine.

17 Music Of A werewolf

From ‘We Come As Aliens’ – Spacey, Esquivel style swinging moonlight safari within a Joe Meek subliminal style soundscape shapes this horror-popper and keeps us guessing!

18 Take Over

Another tune from 2010s ‘We Come As Aliens’  features some classy screaming and offbeat capers. Paranormal paranoia can indeed be fun.

19 Back In The Community

Total cracker of a piece about ‘lessons in humility’ to get back to the ‘sense of community’, valid and well considered observations that ring true today.

20 Best Album

The opening track of ‘We Come As Aliens’ – swinging Indie Rocker with a hint of Southern sullen soul, builds into an almost Frankie Valley and the Four Seasons style chorus workout with subtle key changes, swirling yearning organ and smooth layers of backing vocals which are superbly engineered and produced to make this work wonderfully.

21 (Oh Alright) Go On Then.

A slightly obtuse and bitty sound on certain parts of this one (it may be my ears)  but some great hornets nest style Sax work.

22 Johnny Thunders

The 1992 7 inch single that was released on Rough Trade that became a set-list fave extoling ‘C’mon boys quit this town forever!’ Vic always rated the late, great Thunders (RIP) as his guitar playing wove together groups of notes and not just chords and therefore a big step up from the Brit Punk that was displayed at the time which often seemed slightly frustrated and stunted by lack of ability to develop bigger sound ideas in the songs. This tune captures a genuine affection from a golden period in music.

23 Outro With Paul Reekie

Rightfully rounds off a fine, diverse and solid 30 Odd Years double CD collection which is well worth grabbing. Paul Reekie recounts the influence and affect that Vic and Subway Sect had on the Scottish Scene with bands such as Orange Juice, Josef K and The Fire Engines (and the entire Postcard Records sound) openly and proudly doffing their tartan caps in admiration. Maybe we should follow their lead and re-discover the true pioneer spirit that made for brave, risk taking and strong independent thinking with highly original and artful results.

We at eyeplug thank Vic and all of the various allies, musicians and various Subway Sect incarnations who have made these 30 Odd Years so wonderfully Odd, we salute your genuine Ambition.

I’ve been walking along down this shallow slope, Looking for nothing particularly.

Credits (where they are due)

Subway Sect: Bob Ward, Paul Myers, Rob Symmons, Colin Scott, Steve Spartan Atkinson, Johnny Britton, Chris Bostock, Dave Collard, Rob Marche,
Sean McCluskey, Becca Gillieron, Sophie Politowicz, Leigh Curtis, Paul Trigger Williams, Mark Laff, Gary Ainge, Kevin Younger, Mark Braby & Paul Cook
The Black Arabs & Paul and Terry Chimes, Pete Thomas & Jumping Jive, Working Week
The Bitter Springs: Simon Rivers, Dan Ashkenazy, Nick Brown, Paul Wizard Baker, Paul McGrath & Phil Martin
Mates Mates: Andrew Ribas Escandon, Andriu Luc Ma, Luca Ferran Font, Fim Jorbel Errapicas, Erra & Pau Orri Comerma, Pau
The Sexual Objects: Davy Henderson, Douglas Macintyre, Graham Wann, Ian Holford & Simon Smeeton

Vic Godard & Subway Sect

Albums

  • What’s the Matter Boy? (1980), Oddball/MCA
  • Songs For Sale (1982), London
  • Long Term Side-Effect (1998), Tugboat
  • We Come As Aliens (2010), Overground
Compilations
  • A Retrospective (1977-81) (1985), Rough Trade
  • Twenty Odd Years – The Story of… (1999), Motion
  • Singles Anthology (2005), Motion

Singles

  • “Split Up the Money” (1980), Oddball/MCA
  • ‘Stop That Girl’ (1981), Rough Trade
  • ‘Hey Now (I’m in Love)’ (1982), London
  • ‘Johnny Thunders’ (1992), Rough Trade
  • ‘Won’t Turn Back’ (1993), Postcard
  • ‘No Love Now’ (1996), Garcia
  • ‘Place We Used to Love’ (1999), Creeping Bent

Vic Godard

Albums

  • T.R.O.U.B.L.E. (1986), Rough Trade
  • End of the Surrey People (1993), Postcard
  • In T.R.O.U.B.L.E. Again (2002), Tugboat

Singles

  • ‘Stamp On a Vamp’ (1981), Club Left
  • ‘Holiday Hymn’ (1985), El

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Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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March 14, 2014 By : Category : Front page Indie Picks Post-punk Punk Tags:, , , , ,
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