SPAZ Reviews DOG TRUMPET's Medicated Spirits!

DOG TRUMPET

MEDICATED SPIRITS

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For a quick rundown on Dog Trumpet, please see my earlier post about them HERE.

         For over 35 years, Reg Mombassa and Peter O'Doherty have been creating some of the most distinctive music in Australian history.  While they were two-fifths of Australian legends Mental As Anything from 1976 to 2000, they were crucial to that band's success. Martin Plaza (guitar and vocals) and Greedy Smith (keyboards and vocals) may have been in the spotlight a bit more, but Reg's slide guitar and Peter's inventive bass playing helped to create and fuel the Mental's unique sound.  The fact that Reg and Peter wrote plenty of songs for the band only solidified their standing as two of Australia's premiere talents.  When The Mentals went on hiatus at the end of the '80s, Reg and Peter formed Dog Trumpet. Their debut album, Two Heads One Brain (1991), continued in the Mentals tradition of expertly produced Roots Rook/Pop.  The Mentals got back on track in the mid '90s but that didn't stop Dog Trumpet from releasing their next album, Suitcase, in 1996.  Reg and Pete left Mental As Anything in 2000 in order to focus on Dog Trumpet and their art projects.  The duo released three more albums from 2002 to 2010 (Dog Trumpet, Antisocial Tendencies and River Of Flowers), all of which were gloriously unique and inspiring. 

Now, three years on from River Of Flowers, Reg and Peter have released their masterpiece - Medicated Spirits.

While it's not entirely different from their last few albums, the duo have come up with their finest batch of songs to date and released in as a double album... on two CDs! It doesn't get much better than this, to be honest.  19 songs and every one of them a gem. Reg and Peter don't just write Pop songs - they paint aural pictures that they fill in with different shades, colors and genres. But with that being said, the tracks are still very earthy and warm. The charm in Dog Trumpet's music is that there is such beauty in their simplicity.  Dog Trumpet sound like no one else and that is a rarity in this day and age. The album is awash with acoustic instruments and delicious harmonies that offer up an almost magical feel to each track. This isn't music created to shift units - it is music that connects with the listener on many different levels.  Shifting units is just a plus. Fans of Alt-Country, Pop, Rock 'n' Roll, Blues and Folk would do themselves a favor by clicking on one of the links above and buying Medicated Spirits immediately

Highlights: 

     The album's opener, the instrumental "Elizabethan", is similar in spirit and style to some of Paul McCartney's early '70s instrumental pieces on the McCartney album. Yes, it's that good.  

     "Speed Of Light" kicks things up a notch with it's heavy fuzz bass and Psychedelic Folk groove. Peter's affinity for Psych-influenced melodies is immediately apparent here.  

     Reg's "Made In The World" is a catchy Blues/Folk ditty with a keen Pop sense to it  You will find yourself singing this track to yourself and your friends for weeks afterwards (and MY friends can verify because that's just what I've been doing since I first played the album!)

      "Bored Wife" has been one of my favorite Dog Trumpet songs since it appeared on an EP two decades ago.  They've re-recorded it for this project and it has lost none of it's emotive power in this new updated version.  It is touching and melancholic, although a bit more raw and loose.  

     "Ray Davies And The Kinks" sounds nothing like Ray Davies and The Kinks although the lyrics paint a glorious picture of a road trip listening to Ray and the boys, and that is just as fun.  More Muswell Hillbillies than Kinda Kinks, its a track that will earn repeated listenings on your next road trip.  Who needs Ray when you have Reg?

     "Methylated Spirit" has a wonderful hook that is accented by some fantastic harmony vocals that sound almost other-worldly. 

     "What Falls Away" is a splendid Pop song from top to bottom.  Again, the backing vocals really help make the song the perfectly constructed recording that it is. 

     "Camel Rock" features fantastic lead vocals by band member Bernie Hayes, a performance that now has me trying to track down his two solo albums. Hayes gave a stellar vocal performance on "Bloomsbury Birds" from their album Antisocial Tendencies as well.  

     "Broke In Many Parts", "Tell Me" and "Moon And Star" have some of the prettiest melodies that Peter has written.

     While they don't sound like old Mentals recordings, songs like "Telegraph Pole" and "Arriving At The End" wouldn't sound out of place on their albums Get Wet and Espresso Bongo. 

     I could go on and talk about every single track on the album, but my goal here is to inspire you to run out and buy Medicated Spirits, not to bore you with my personal love affair with this double disc delight.  Dog Trumpet have recorded the best album of their career thus far as well as one of the best albums of the year.  Not bad for a couple of fellas who've been doing this for nearly 40 years... not bad at all!

Peace, love and puppies,
Stephen SPAZ Schnee

SPAZ reviews ROMAN HOLLIDAY's Cookin' On The Roof reissue on Cherry Pop!

ROMAN HOLLIDAY

COOKIN' ON THE ROOF

(Expanded Edition)

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I remember very vividly the first time I heard Roman Holliday.  I was at Camel Records in Huntington Beach looking through their new releases and I happened upon the imported (from the UK) 12" single for "Don't Try To Stop It".  Up to this point, the band had never even entered my radar.  But I was intrigued by the unique retro look of the band and I believe that I immediately thought of both Madness and JoBoxers. While I didn't know what to expect musically, I took a chance and bought the single.  And even though I had limited funds, taking chances on bands is what I always did in those days... and still do to a certain extent. When I got home after a few hours of record shopping, the first thing I threw on was "Don't Try To Stop It".  I was an immediate fan.  Their sound was energetic, fun, melodic, punchy and had a Swing vibe to it, which was certainly not the norm in 1983. (In fact, it would be another decade before a Swing revival would be in full...er... swing!) A month or two later, the song was in constant rotation at KROQ along with their other two singles "Stand By" and "Motormania", all three of which had been combined to create their self-titled debut American EP. 

     So, later that year, the band released their debut album, Cookin' On The Roof, and it was - and remains - one of the truly great Pop records of it's day.  While I don't know what went on behind the scenes, record-company wise, I have never felt that the band's image and music was contrived or manufactured during this period.  These guys were great musicians, knew how to write a snappy, catchy tune and they were fully aware of Pop music history.  Their love of what they were doing bleeds through on Cookin' On The Roof. Their musical angle at this point focused on Swing Jazz complete with a horn section.  Frontman Steve Lambert was a Pop vocalist who was more than able to hold his own in this musical setting, but it was also a bridge between the then-modern Pop scene and the Swing orientation of the band. Peter Collins' production is very busy and at times a little too confining for the seven piece band, but he does add his usual flair to the proceedings and the album is tight and to the point.  There is not one song that overstays it's welcome. Apart from the aforementioned singles, the original album also features eight additional gems including "I.O.U", "Serious Situation", "No Ball Games" and so many more.  A spirited and sprightly treat from beginning to end. 

     In a sense, its really hard to convey the 'feeling' that I have for this album.  Words can express my thoughts, but an album like this really meant something then and now.  It may not have offered solutions to life's mysteries or cured the ills of the world, but it sure made it far more tolerable... and blissful!  The innocence of the band's image and sound offered excitement and hope. Theirs was a happy sound without any sign of pretentiousness. Roman Holliday seemed to live and breathe their music. They reached back into the past and brought some great Swing and Jazz elements to the music while also keeping it Pop-oriented and accessible to a new generation of listeners who hadn't been exposed to much Swing before.  They were unique and fun, which was what really made them stand out in a sea of or bands content with following trends and making music that was dictated by whoever was in the Top Ten at the time.  The only other bands that were carving out their own niches at the time were Dexys Midnight Runners, JoBoxers and few others.  

     Sadly, it didn't last long. A year later, the band had dumped the horn section and re-fashioned themselves as Duran Duran-lite.  They lost their uniqueness, their innocence, their joy and their spirit. The album they released in '84, Fire Me Up, was not bad.  But it was an album that could have been made by anyone else at the time.  Cookin' On The Roof, on the other hand, was something entirely different and entirely wonderful.

     This remastered reissue is much better than the Japanese CD that was released and deleted more than a decade ago, so stop searching for that and buy this one.  Why?  Because this annotated reissue also contains six bonus tracks including two non-album b-sides ("Round And Round" and "Beat My Time") plus extended and acapella versions of "Don't Try To Stop It" and "Motor Mania".  If that isn't enough to make you run out to your local shop or order online, then perhaps you need to rethink your lot in life and find your 'happy place'.  Perhaps you should spend more time 'cookin' on the roof'!?  

Peace, love and pancakes, 

Stephen SPAZ Schnee

STEVE FORBERT: The Sony Years continued...

STEVE FORBERT

LITTLE STEVIE ORBIT

(2CD)

STEVE FORBERT 

(The 4th Album)

DOWN IN FLAMES 
(3CD)

Steve Forbert is one of the most honest songwriters out there.  Ever since he released his debut album, Alive On Arrival, in 1978, he has managed to release a series of albums that sound like no one else.  While he was briefly referred to as 'the new Dylan' some 35 years ago, with each album release, he is simply Steve Forbert, albeit dressed up in a different outfit every time.  His songs come from the heart, although he manages to write with a unique perspective on each recording.  Whether he is speaking from experience or writing from another person's point of view, he continues to hit the nail on the head each time. While his voice is a little more gruff these days, he still injects his songs with heart and soul.  He still travels the Folk road that he began his journey on so many years ago, but he has no problem injecting Rock, Soul, Pop, Latin, Bluegrass and Zydeco into his songs.

I was a New Wave/Punk/Power Pop/Synthpop loving kid when I first heard Steve Forbert and I immediately knew there was something special about him.  Sure, I was loving all the quirky, high-energy and day-glo bands of the day, but Forbert was just as unique. The thing that attracted me to his music was the songs.  And he sure had plenty of songs that still give me goosebumps today.

While he continues to record and tour, his most commercially successful period was when he was signed to Nemperor/Sony in the late '70s and early '80s.  Earlier this year, his first two albums -Alive On Arrival and Jackrabbit Slim- were reissued in a two CD set complete with some amazing bonus tracks.  When I reviewed the release on this blog, I mentioned just how much I would love to see his third and fourth albums released on CD. (You can read that review HERE). The kind folks over at www.steveforbert.com informed me that those albums were, indeed, available on CD through their webstore.  Not only that, they also issued his previously unreleased fifth album for the Columbia label in a deluxe 3CD package!  Once I laid my money down on the table, I became the proud owner of the three releases I am now going to tell you about!

LITTLE STEVIE ORBIT (1980)
(2CD)

No matter who produced his records, Steve Forbert ended up sounding like Steve Forbert. Very early on, he managed to become a unique songwriter that stood out, no matter what type of production he was surrounded in. Since "Romeo's Tune" had been a decent sized hit on Pop radio, it seemed like Nemperor wanted to explore the poppier -even rockier - side of Forbert with his third release so they threw him in the studio with the great Pete Solley. Solley was just coming off the success of The Romantics' first album (also on Nemperor) and their hit "What I Like About You".  While Solley's production may not have been as earthy as Forbert's music was accustomed to, Forbert stepped up to the plate with a fine selection of songs that still sound great today.  OK, so the production is a bit condensed, but the songs are as meaningful as ever and the melodies are more direct and immediate.

"Get Well Soon", "Song For Katrina", "Cellophane City". "Laughter Lou (Who Needs You?)", "If You've Got To Ask You'll Never Know", and "Lonely Girl" are definite highlights but Little Stevie Orbit is a strong album from start to finish.  There's certainly a lot of joy and energy coming from these songs and that is what makes Forbert who he is - he has a tendency to add charm and vitality to his performances. The bonus tracks here are from the same era and are top notch, with special kudos for "Planet Earth Song". Another winner of an album, although it didn't seem to do much in raising his commercial profile.  Little Stevie Orbit meant that he had made three great albums in a row.  Could he hit another home run with album #4?  Read on...

The bonus CD is a live show taped on Thanksgiving of 1980 and features live versions of tracks from his first three albums plus a few cuts that don't appear on his studio releases. 

STEVE FORBERT (1982)

For his self-titled fourth album, Forbert was paired with producer Steve Burgh, who had worked with Billy Joel, Phoebe Snow, John Prine, Willie Nelson and Steve Goodman.  Little Stevie Orbit was a fine album, but it seemed that Forbert's music needed a producer who 'understood' Forbert's roots.  Again, with "Romeo's Tune" in mind, the album Steve Forbert was a return to a folkier feel but this time with a more robust sound.  While it sounds slick and well-produced, album #4 is yet another collection of well-written songs that should have returned Forbert to commercial waters. In my opinion, this is the album that should have followed Jackrabbit Slim - commercial yet entirely unique.

"Ya Ya (Next To Me)" should have been a massive hit with the catchy horn riff that carries the chorus into the stratosphere. "Listen To Me" is one of his finest, most heartfelt love songs... and that guitar hook is heavenly. The beauty of "Oh So Close (Yet So Far Away" is mesmerizing. "On The Beach" is a great mid-tempo rocker with a catchy little guitar hook. Other highlights include "Prisoner Of Stardom", "Beautiful Diana" and "You're Darn Right". When it comes down to it, this is my favorite album from his Nemperor/Sony period, but that's probably because I adore great Pop albums and that is what Steve Forbert (the album) is.

Of the bonus tracks, "Suspicion" is a much more successful cover than "When You Walk In The Room" and fits more comfortably with the rest of the album. Then again, I love his version of "When You Walk In The Room", so that is not a complaint whatsoever! There's even two alternate versions of "Listen To Me"... and you can never have too many versions of that song on an album!

DOWN IN FLAMES (3CD)

Now, here is a real treat for Forbert fans!  Back in the day, I read in one of the music magazines (Rolling Stone? Creem?  Trouser Press?) that Steve had gone into the studio with producer Neil Giraldo (Pat Benatar) to start recording his fifth album.  This was probably around '83 or so.  After that, I read nothing else about the sessions and it wasn't until 1988 that Forbert resurfaced with Streets Of This Town on Geffen Records. With no sign of Giraldo on the album, I pretty much figured that the album never came to be (remember, this is way before the internet so there was no way I could keep tabs on music biz happenings).  Oddly enough, since 1988, I had completely forgotten about Forbert recording with Giraldo...

Well, lo and behold, Forbert did actually record the album but it was never released!  After many years, Steve got the rights to release the album.  With some rejigging, Down In Flames is that very album and it shows yet another side to Forbert.  Some of the tracks rock harder than his previous work, while others are Forbert at his most sincere.  Listening to this set of songs makes you wonder why this album never saw the light of day. There's even a few Rockabilly tracks that Forbert seems to have a lot of fun with.  To be honest, it's unfair to compare this to his other work because I've been listening to the first four albums for 30+ years and then reviewing this release after only a dozen listens doesn't seem right.  What I will tell you is that this is a must-have for any Forbert fan! "Underwatertown", "What's So Hard About Being Alone" and "Lay Down Your Weary Tune Again" (later recorded for the album Mission Of The Crossroad Palms) are definite standouts. 

Down In Flames is a 3CD set, which makes it a must-have for your collection.  Disc One is the 13 track album, Disc Two is demos recorded for the album and Disc Three features live recordings spanning the years 1983-85.  Saying this album is a sweet deal is an understatement!

So, there you have it!  Steve Forbert's first five albums are some of the finest Folk/Pop releases of the '70s, '80s and beyond.  He's still out there, recording and touring so maybe it's time you start paying attention!  

God bless Steve Forbert!

Peace, love and pancakes,
Stephen SPAZ Schnee

The CHERRY Best: Strolling Through The Cherry Red Catalog Part Two

THE CHERRY BEST:

STROLLING THROUGH 

THE CHERRY RED CATALOG

PART TWO

You can read Part One of my Cherry Best series HERE

Anyone that knows me is fully aware that I LOVE Cherry Red Records and the myriad of labels under it's umbrella.  From the Punk classics that make up ANAGRAM RECORDS' catalog to the constant flow of great R&B/Soul/Funk reissues under the BBR banner, I have nothing but pure, unadulterated love for what they do.  Each label is run by folks that seem to share the same passion that I have for music.  I admire and envy everyone involved with all the label imprints that Cherry Red releases. Yeah, I'm a fan to say the least. 

     

Cherry Red is more than just about music distribution: it's about music education.  There are so many genres to choose from: Country, Rock, New Wave, Metal, R&B, Bossa Nova, Post Punk, Prog Rock, Jazz, Punk and any other genre you can think of.  Their releases are mostly reissues (with bonus tracks!) but they do unleash new music by veteran artists and up and coming acts alike.  

As for me, I've been an avid collector of reissues, mostly stuff from the '70s and '80s, on labels such as Cherry Pop, Lemon, BBR, Hot Shot and others. Almost everything I have from the label were titles that I used to own the vinyl when they were first released.  But with bonus tracks and liner notes, I obviously upgraded my collection and now own them on CD.  I'm not one of those that bothers with the 'vinyl vs. CD' sound quality debate.  I think CDs sound great and Cherry Red releases are worth every hard earned penny you pay for them.

I've decided to list some of my favorites below.  There are titles that I've written about elsewhere on this blog (check them out here) but these are releases that I may have acquired before I started blogging or maybe they are things that I finally got around to purchasing recently.  Either way, I wanted to share them in a series of posts and bring them to your attention.  I've listed them alphabetically to make it easier to read/skim through...

FRAZIER CHORUS

SUE

(Expanded Edition)

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While late to the Synthpop party, Frazier Chorus' 1989 debut album was a fantastic collection of Electronic Pop that may have been too late to compete with the brilliantly coiffed early '80s Synth brigade, but they made it up with great tunes, Synths, honest to goodness real clarinets, oboes and flutes, a keen sense of humor and leader Tim Freeman's whispered vocals. While the rest of the UK were gearing up for the whole Baggy/Manchester scene, Frazier Chorus were creating Pop gems that defied categorization yet were zesty enough to be huge hits.

They did release an earlier single on the 4AD label, but by the time Sue was released, the band were a full-fledged Pop quartet with the potential to be a worldwide success. They did achieve some success, but the fickle public were too high on Ecstasy to notice that a great band was in their midst.

Imagine The Dream Academy with a sense of mischief and keyboards instead of gently strummed acoustic guitars. Then add a bit of Morrissey's dry humor (minus the pretentiousness) and you're only half-way to understanding just how fine Frazier Chorus really were. There are moments here that are astounding as well as outstanding.

Cherry Red's CD reissue adds eight bonus tracks including their brilliant cover of "Anarchy In The UK", some more b-sides and three extended mixes. Stunning.

KING

STEPS IN TIME

(Expanded Edition)

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The '80s were full of fascinating and colorful artists who came, saw, conquered then quickly faded away. Being a fan of many of those one or two hit wonders, there were some that deserved only a moment in the spotlight, but then there were artists like vocalist Paul King, who had plenty of talent and a lot of potential, but his audience moved on, leaving him and his King bandmates behind. But while they were in the spotlight, the quartet made the best of their 15 minutes and cranked out some wonderful tunes.

Influenced by '70s artists like Marc Bolan and David Bowie and spurred on by the sights and sounds of their '80s contemporaries, King cranked out a some memorable hits and videos and it looks like they had the time of their lives doing it.  Their debut album, Steps In Time, features their two biggest hits - "Love And Pride" and "Won't You Hold My Hand Now" - and some extremely enjoyable album cuts that seemed a bit more advanced than what their teen audience was prepared for.  The band certainly gave it their all on tracks like "Fish", "Trouble" and the oddly titled "I Kissed The Spikey Fridge", three more highlights from this thoroughly enjoyable album.

Their next album, Bittersweet, would prove to be a better album, songwise, but Steps In Time was a pleasure from start to finish. With seven bonus tracks including non-album b-sides and remixes, this is a treat for '80s fans... and King fans, of course.

TOURS

THE ALBUM OF THE YEAR...

(THAT NEVER WAS)

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The musical landscape is littered with bands that released albums that should have reached a wider audience but somehow did not.  But what about bands that had the potential to make their mark but never released an album to begin with?  The bands that instantly come to mind are The Donkeys, New Hearts (who morphed into Mod favorites Secret Affair) and Tours.  Of all of these bands, Tours, led by Ronnie Mayor and Richard Mazda (later a solo artist, producer and actor), were the hottest band in the UK for a brief time...

With an indie single, "Language School", in their back pocket and support from John Peel, the band signed a multi-album deal in 1979 with Virgin Records and set about recording demos for their debut full-length, which was never to be released.  Egos and clashes with Virgin caused them to split even before an album could be properly recorded. They did manage to release one single for Virgin - "Tourist Information" - but the rest of their studio work languished in the vaults until Cherry Red and the band went back and put this excellent compilation together. 

Featuring 17 tracks, The Album Of The Year... (That Never Was) is chock full of edgy Power Pop and Punk Pop. Both sides of their two singles are included along with loads of other melodic nuggets.  One of the other standouts, "Can't Get Through", should have been a single and was possibly earmarked as such... if the band had survived long enough to release it.

Constant comparisons to The Undertones are not entirely accurate since Tours' didn't always rely on the Ramones-like guitar attack that the great 'Tones did.  On the other hand, their tunes are short and snappy, so its safe to say if you like the 'Tones and the aforementioned Donkeys and New Hearts, you're going to love Tours!

TRACIE

FAR FROM THE HURTING KIND 

(Expanded Edition)

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Though Tracie Young may not have scaled the charts in the U.S., she most certainly made her mark in the UK during her short career.  Some may remember her as guest vocalist on The Jam's last single, "Beat Surrender" and The Style Council's debut single, "Speak Like A Child" but it was her solo album (and singles) that showed her true talents.  As one of the first signing's to Paul Weller's Respond Records label, 

Tracie was a Weller protege who released only one album but it remains the most popular of all the releases on Respond.  

Recorded and released while Weller was fronting The Style Council, Far From The Hurting Kind has his fingerprints all over it.  The songs are soulful, melodic and very Style Council-like, although that band's intricate and tight arrangements are not as apparent here.  Far From The Hurting Kind is filled with soulful Pop tunes that are not unlike some of the Council's better b-sides.  While that may not sound like a compliment, judging by Weller's top notch output a this time, it is high praise indeed.  In fact, the tender "Spring, Summer, Autumn" was an actual Council b-side (albeit a completely different recording with Weller on vocals)!

High points on the CD include "The House That Jack Built" (which wasn't on the original UK vinyl LP but has been added as the first track here, where it truly belonged) and the touching "(I Love You) When You Sleep", which was penned by non other than Elvis Costello! With a load of non-album b-sides, a few newer interpretations of album tracks and more, this edition is loads more fun than the extended Japanese version released many years ago.  

For fans of '80s girl pop, The Style Council, The Jam, Paul Weller and Respond Records releases!

Peace, love and POP!

Stephen SPAZ Schnee

SPAZ reviews The Hidden World Revealed by THE THREE O'CLOCK!

THE THREE O'CLOCK

THE HIDDEN WORLD REVEALED

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     Although they were adored during their heyday in the '80s, The Three O'clock have been criminally overlooked by many critics and music fans since their demise at the tail end of that decade.  While still hailed as heroes in their hometown of Los Angeles, the rest of the world focused on bigger names when it came to programming their flashback playlists.  But while a handful of other '80s bands were continually being overplayed on satellite and internet radio stations, The Three O'clock were quietly being reappraised by a new generation of fans.  The  quality of their earlier recordings for the Frontier Records label still sounded fresh and invigorating, unlike many of their over-produced, keyboard-heavy contemporaries.  When the band announced a short reunion tour bookended by appearances at Coachella in April, 2013, interest in the band finally came to the surface. At that point, it was obvious to everyone that the band had a devoted and dedicated fanbase and that they had left their mark indelibly stamped upon the hearts of a legion of followers.  Finally, The Three O'clock were getting the recognition (again) that they have so rightly deserved for three decades.  

     While their albums for IRS and Paisley Park/Warner Brothers have long been deleted, Frontier Records has kept the band in print with a CD containing their first EP (Baroque Hoedown) and debut full length (Sixteen Tambourines) on one disc as well as Happen Happened, a CD containing their pre-Three O'clock recordings (as The Salvation Army but later reissued under the band name Befour Three O'clock). While the band's reunion was short-lived, there remains the possibility that there could be more activity in the future.  

     While we wait patiently for the slightest chance of hearing new music, Omnivore Records has released The Hidden World Revealed, an excellent collection that serves as both a reminder and an introduction to the glorious sounds of The Three O'clock. Chock full of hits and rarities, The Hidden World Revealed is an absolutely splendid look at a band completely out of time yet utterly timeless.  As leaders of The Paisley Undergound movement of the early '80s, the band mixed  a love of '60s Pop, Psychedelia, Mod, Folk Rock and Bubblegum into something that was uniquely their own.  When you heard The Three O'clock, you knew it was The Three O'clock!  

     Spanning the years 1981-86, this collection focuses on the original quartet of Michael Quercio (bass/lead vocals), Louis Gutierrez (guitar), Danny Benair (drums) and Mike Mariano (keyboards), the four young gents who created their most beloved recordings.  Yes, there are a few tracks that feature earlier and later members of the band, but most everyone will agree that Quercio/Gutierrez/Benair/Mariano are the four crucial elements that created the band's sound.  While their inspirations can be felt and heard in their music, I can't help but think that this is kind of what The Monkees would have sounded like if they had recorded their album The Birds, The Bees & The Monkees on their own the same way they recorded the album Headquarters (ie: with no help from outside musicians). Well, maybe add a little more  Psych Pop to the mix, too! And that is a compliment of the highest order.  I think its even fair to say that these songs sound better now than they did some 30 years ago.

     The previously released recordings from their Frontier Records days are absolutely flawless.  Highpoints include "Jet Fighter", 'Stupid Einstein", "With A Cantaloupe Girlfriend" and others.  Of the previously unreleased alternate takes, demos, rarities and oddities, there are some delicious moments including a demo of "The Girl With The Guitar (Says Oh Yeah)", "All In Good Time", alternate versions of "I Go Wild", "A Day In Erotica" and "When Lightning Starts" and so much more.  Sure, there are one or two tracks that I've yet to connect with, but those are certainly in the minority here. 

     The Hidden World Revealed is a must have for anyone with a taste for Power Pop, Mod, Psychedelia, and New Wave. Oh, and if you like The Byrds, The Beatles and The Monkees, then give them a spin.  But when I say spin, I mean BUY the damn thing! Now, let's hope for some more Three O'clock treats in the future!

     For further reading, check out THIS link for my exclusive Q&A with Danny Benair!

Peace, love and pancakes,
Stephen SPAZ Schnee

  

SPAZ reviews STATUS QUO's Bula Quo! Two CD set available July 9th, 2013!

STATUS QUO

BULA QUO

7.9.13

They may be celebrating their 50th Anniversary, but I became a STATUS QUO fan late in the game.  Back in '84, they were they first band to play Live Aid, which I watched pretty intently for much of the day.  Kicking off the show with "Rocking All Over The World", I was pretty much hooked on Quo then and there.  Already 20 years into their career, I definitely had quite a few albums to purchase at that point.  I've stuck with them ever since, buying every album, every hits collection, every CD and then every remastered CD.  And I'll buy every album, remaster or whatever until they stop releasing them. Which I hope never happens...

Well, OK, so I've avoided the live releases, but that's just because I don't care for live albums all that much.  In fact, I don't care for live albums at all! But I must say that I've seen many bands over the years during their heyday (XTC, The Jam, Split Enz, Squeeze, etc) but my absolute favorite live show of all time was Quo at the House Of Blues in Anaheim on February 27th, 2003.  Yes, the smallish club in Downtown Disney.  Quo usually never play anything smaller than a stadium in Europe and elsewhere, but I saw them live at this little club during the Heavy Traffic tour and it blew me away. Everything about that night was magical.  It was the greatest Rock 'n' Roll show I've ever experienced.  But then again, I think Status Quo are one of the greatest Rock 'n' Roll bands ever! 

Some say that Quo aren't as great as they used to be.  I beg to differ.  They are still releasing some great Rock records and I'll stand by every one of them.  Except for the live albums.  Oh, and the cover version albums.  I own them all but they released too many covers albums over the last 20 years and probably lost some fans because of it.  But when they release their albums of original material (which they've been doing pretty consistently for the last 10 years), they are all top notch in my book.  Even in the '90s when critics would rip them to shreds, they were still releasing great albums.  OK, so they weren't Piledriver, Hello! or Blue For You (or whatever '70s album you prefer) nor were they trying to be.  While Quo may have essentially stayed the same, they also changed things up a little bit, too. As they've grown older, the guys in Quo have grown wiser and perhaps a little more mellow, too.  They can't keep making the same record over and over again - although that is what people have said about them. While I read what critics have to say, I don't let the reviews impair my judgement.  I listen to each album with a fresh pair of ears.  I can't think of one Quo album of original material that I haven't loved over the years.  And, no, I'm not deaf!

So, when I heard Quo were making a movie, I thought it was a bit odd.  Why now?  I mean, didn't they stop making movies about bands unless it was a concert film or documentary?  Bula Quo, the movie, is a comedy with action, adventure and suspense and certainly not a movie about their real lives.  The move's tag line is "It started with guitars... And ended with guns!" And Jon Lovitz plays the main bad guy!  Huh?  Well, I will certainly see the movie if given the opportunity, but I'll have to wait until then to cast any judgement apart from that big question mark over my head.  Funny thing is, I've seen the previews and it looks kind of cheesy but I'm quite excited about it in the end.  I mean, this is Francis Rossi and Rick Parfitt after all! By the way, it seems that band members Andrew Bown, John Rhino Edwards and Matt Letley have only minor roles in the film (but I can't say that for sure since I haven't seen it yet). 

So, just last week, I managed to get my hands on the soundtrack to the movie. It's a two CD set containing nine brand new Quo tracks written for the film plus a second disc containing a few oddities related to the film as well as live material from 2010.  And you know what?  It is pretty outstanding!  In fact, all nine of the tracks on Disc One are Quo at their best. The title track, "Bula Bula Quo" was the first single and is one of my favorite later period Quo tracks by far.  The 'Kua Ni Lega' bit is quite wonderful, to be honest.  The album's second single, "Looking Out For Caroline", is the band's 100th single and while it is pretty much a standard sounding Quo track, it worms its way into your head after the second or third listen. "GoGoGo" has a unique melody in the verses which makes the song a real standout. "Never Leave A Friend Behind" (GREAT backing/harmony vocals... is that you, Rhino?) and "Run & Hide (The Gun Song)" (that IS you, Rhino!) are bursting with great hooks and Rock 'n' Roll energy. The delectable island-flavored Rock of "Fiji Time" is another winner.  I could go on, you know, but I'll just come out and say that these 9 new Quo songs have had me hooked and I've been listening to them over and over again for a few days now and they are only getting better with each listen. Each of the five band members had a hand in writing various tracks on the album, so it's a well-rounded affair. Lyrically, all the songs seem to reference the plot/characters of the movie, so they were definitely all written specifically for this project.  Gets me excited to see the movie just to hear the songs in their proper context. 

Disc Two features a new recording of the glorious "Living On An Island", which may not reach the heights of the original, it is still exciting to hear a new twist to the track. The Bula Edit of "Rockin' All Over The World" is ace and may be the version I use from now on when I make my own Quo mixtapes. There are two tracks from their great Quid Pro Quo album from 2011. Rounding off the 2nd disc are live versions of six Quo classics like "Pictures Of Matchstick Men", "Caroline", "Whatever You Want" and "Down Down" (my personal favorite). Like I said, I don't care for live recordings, but these are pretty sweet.  Definitely great versions for someone listening to Quo for the first time here.  

So, while I wait to see the film, I'm more than elated over this soundtrack, which is quite a wonderful helping of Quo stew. I'd even go as far to say that this is my favorite Quo album since the one-two punch of original albums Under The Influence (1999) and Heavy Traffic (2002).

Highly recommended for fans of Rock 'n' Roll and Status Quo, which are basically one and the same!

Peace, Love and Quo,
Stephen SPAZ Schnee

SPAZ reviews BREATHE's All That Jazz (Deluxe 2CD Edition)

BREATHE

ALL THAT JAZZ

(Deluxe 2CD Edition)

Available NOW!

The late '80s was a strange time in music.  The New Wave movement was already a thing of the past, although many of the bands were still around making music. Metal was now giving birth to a whole new breed of Hair Bands, House Music was big in the clubs, and R&B was all over the charts. With such changes happening seemingly overnight, there didn't seem like there was enough room for a new Pop band to make a dent in the charts.  And for Breathe, it almost didn't happen...

Though they had been releasing singles since 1986, it took two years for the band to release their debut album, All That Jazz.  Issued in the UK on Circa and in the U.S. on A&M, All That Jazz seemed almost dead in the water.  When the trio of David Glasper (vocals), Marcus Lillington (guitar) and Ian 'Spike' Spice (drums) came over to the U.S. to do some promo work, there wasn't much hope.  I met the band when they stopped by Abbey Road Distributors and we had a nice chat about music.  They were a bit disappointed by their lack of success but really appreciative of my enthusiasm for the band and their album. Glasper signed my LP with the words "With a few more like you, it could have happened'. 

Shortly after our meeting, A&M released "Hands To Heaven" as a single and then everything changed.  Now, 25 years later, people may not always remember the band name but "Hands To Heaven" remains a radio staple.  It's one of those songs that everybody knows.  A gorgeous and haunting ballad, "Hands To Heaven" has become a classic slice of late '80s pop that still makes lovers swoon.

And since it's the album's 25th Anniversary, Cherry Pop has released the ultimate edition of the album.  It not only contains the original 10 tracks from the album ("Don't Tell Me Lies" was added to the U.S. edition and later UK pressings as well) but it also contains every b-side, single edit, extended remix and rarity that could fit on a double CD set. This deluxe edition now features a total of 33 tracks with roughly half of them making their CD debut here.

For anyone who loved the album's smooth blend of Pop and R&B are going to love the generous amount of bonus tracks.  The non-album b-sides equal anything off the album, although the production does date some of the recordings.  Sometimes sounding like a mix of Wham and Steely Dan, Breathe wrote some smart and sophisticated yet chart-friendly pop tunes including "All That Jazz", which is the song that first caught my ear all of those years ago when I first laid the needle down on the album.  With two more hit singles, "How Can I Fall?" and "Don't Tell Me Lies", the album was one of the strongest releases that year and earned the band a huge fanbase of devoted fans.

Unfortunately for Breathe, their next album, Peace Of Mind, was released in 1990 to little fanfare and, when the album didn't scale the upper regions of the charts, they quietly split.  But perhaps that was all A&M's fault.  They were already preparing to alter the band's name to David Glasper & Breathe and eventually make Glasper a solo artist.  But alas, that never came to fruition. Perhaps it was their shift in focus that made them drop the ball.  Peace Of Mind was actually a better album as a whole then All That Jazz but had fewer hits (only "Say A Prayer" got much airplay in the States)

This deluxe edition of All That Jazz is everything that a fan could want... and more.  But just because you may not be a fan doesn't mean you shouldn't get it.  If you loved late '80s bands like Johnny Hates Jazz, Go West, and Waterfront, then this is a no-brainer.  It was great Pop music then and it's great Pop music now.  

RIP Spike

Peace,

Stephen SPAZ Schnee

Countdown To The NILSSON Box Set - Part One

Countdown To The NILSSON Box Set 

COMPLETE RCA ALBUMS COLLECTION

PART ONE: 

ALAN HABER 

Remembers 

SON OF SCHMILSSON

"Without question, Harry Nilsson’s Son of Schmilsson was the right album for the right time. When it was released in 1972, I was 17 and had my sights set on college. I was especially open to new ideas. Enter into my record collection this completely unhinged set of songs that perfectly summed up the artist’s newfound penchant for baiting the listener with a love song and, in the next heartbeat, pulling out the rug from under you and dialing up an in-your-face rocker preceded by a healthy belch.

Despite all that, this was a pretty typical Nilsson album. He hadn’t abandoned his gifts for melody or whimsy; he just dressed them in funkier clothes. For every lowbrow joke on the record—the aforementioned belch preceding the wild and wooly rock ‘n’ roll oldie, “At My Front Door”—there was a straight-ahead, old –fashioned, sweet little number like “The Lottery Song,” in which a couple flirts with winning the big prize amidst hopes of growing its value in Las Vegas. Well, sort of sweet, anyway. And there was “Turn On Your Radio,” a beautifully-arranged, pretty song about hope and being at peace with the one you love, even if that person is far away.

There were other, more sanguine numbers that threatened to eclipse the less dainty ones. “Remember (Christmas)” was one, a beautiful, wistful look back at a life lived to the fullest. There were a few, emotionally-invested rockers, too: the bluesy, horn-infused “Spaceman,” the equally bluesy, late-night jazz club vibe of “Ambush,” and “Take 54,” a take-the-chick-and-run song of the highest order. And—oh yeah, that was about it.

That leaves the jokes, and they were plentiful. Low and even lower still, but plentiful. And melodic, too, wonderful compositions that showed that Nilsson hadn’t abandoned the things that got him here, wherever that was. There was the faux country song “Joy,” delivered in a mock country crooner tone and actually—somewhat suspiciously, some might say—released as a country single by RCA. And let’s not forget the jokey-on-the-surface “I’d Rather Be Dead,” sung with gusto by Harry and a group of senior citizens. Believe me, even at 17, the sentiment was not lost on me. Who wants to wet their bed?

Of course, the song on everybody’s lips was the infamous “You’re Breaking My Heart,” which proudly flaunted the f-word and sent parents around the world running towards their kids’ stereos with a hammer. Such language!

That leaves this album’s centerpiece, the anthemic love song “The Most Beautiful World in the World,” a two-part number that eschewed the obvious frat boy jokes for a more sentimental approach. The song’s first section, adopting a catchy, pop construction colored with a faux island beat, finds Harry professing his love for the whole, entire world. The second section is an altogether loftier proposition. Here, Harry gets down to business, calling out the world’s various attributes (“Your mountains when you’re mad/Your rivers when you’re sad/And those deep blue seas/I love you for your snow/Your deserts down below/I love the way you wear your trees”) and declaring that he “just couldn’t stay here without you.”

But Harry’s not fooling anyone. The punch line is right around the corner. “So when you get older/And over your shoulder/You look back to see if it’s real/Tell her she’s beautiful/Roll the world over,” he sings, and, bingo, the payoff!: “And give her a kiss/And a feel,” as the orchestra and Hollywood blockbuster chorus swell behind him. A beautiful setup followed by a tiny, smutty joke. Really a song about a girl? Who knows. Pure Harry.

Surely, Son of Schmilsson was not the work of the man who made Pandemonium Shadow Show. Or Harry, even. This was the work of an artist bent on market self-destruction, a man who began making the recorded left turn his raison d’etre. But it’s the album that I always come back to because it synthesizes the various colors of the artist’s writing and performing gifts. The songs make you laugh, cry, laugh again, and shut the door and put a towel at the bottom to keep your parents from hearing the smutty jokes.

Son of Schmilsson is the most beautiful album in the world, to put it mildly, and an astounding 41 years after its initial release, it remains my favorite Nilsson platter. Plus it’s got Richie Snare, George Harrysong, Nicky Hopkins, Peter Frampton and Klaus Voorman making the songs come alive. Who could ask for anything more?"

Alan Haber 
(DJ/Journalist/Programmer of Pure Pop Radio)
http://loudcity.com/stations/alan-haber-s-pure-pop,

SPAZ reviews THE BLOW MONKEYS' Feels Like A New Morning!

THE BLOW MONKEYS

FEELS LIKE A NEW MORNING

Available NOW!

The Blow Monkeys of the 2000s are very much the same Blow Monkeys of the '80s, only different.  Feels Like A New Morning is their third studio album since reuniting in 2007 and, to be honest, it's a far more consistent affair than anything they've released in their 30 year career.  

Now, don't get me wrong... I LOVE The Blow Monkeys.  I got into them back when the U.S. EP Forbidden Fruit was released in 1985.  I ended up buying their import debut album, Limping For A Generation (1984) and loved it's strange, cool vibe.  When the slick and lush Animal Magic came out in '86, I snapped it up.  "Digging Your Scene" went on to be a pretty substantial hit for the band, but apart from radio plays, it was the 'alternative' stations like KROQ who continued to play the band after that hit, not Top 40.  The album She Was Only  Grocer's Daughter (1987) was an even better album than Animal Magic, but here in the U.S., it didn't get as much attention. The band went in a House-flavored direction in '89 with Whoops! There Goes The Neighborhood and 1990's Springtime For The World (neither of which were released here in the States) but split soon afterwards.

Frontman Dr. Robert pursued a solo career and even worked alongside Paul Weller in the '90s, but by 2007, the band came back together to try to reclaim their magic.  But anyone looking for another "Digging Your Scene" were sorely disappointed.  For those looking to hear some new classic Blow Monkeys tunes were, thankfully, paid in spades.

Now, in 2013, the band offers up Feels Like A New Morning, an album that continues to avoid the gloss of the '80s and embraces the warm, earthy feel of the Doctor's solo albums.  But this is NOT a Dr. Robert album by any means... it is a band effort that succeeds on every level.

Dr. Robert's voice is deeper, richer and more expressive than the band's early work, while the rest of the Blow Monkeys - Neville Henry (saxophone), Mick Anker (bass) and Tony Kiley (drums) - leave their own individual marks on the album.

"Oh My" is the album's first single and on the surface, it may seem as if it's an average, acoustic Blues inspired track, but they throw a few unexpected chord changes in the mix, lifting the track to a different level.  Marc Bolan was great with taking a few standard Rock 'n' Roll chords and then adding a melodic twist by tossing in a fourth chord that changed the course of the song.  The Blow Monkeys pull that off here.

The soulful "Chained", with Robert's passionate vocal, sounds like a logical single and, while it doesn't sound like it came from the '80s, it might be the track that lures back their old audience that may not have been paying attention to their post-reunion recordings.  It is an extremely moving track that bears repeated listenings.  A real stunner and will certainly be one of the best tracks of the year.  

If you're looking for some upbeat tracks, then "Feels Like A New Morning" and "Shake It Off" will satisfy your cravings.  For those looking for something jazzy will fall in love with "In No Time At All".  The band offer up some wonderfully melodic mellow tunes with "Cover Me" and "Hold Everything Dear".  And there's plenty of great songs that straddle different genres here.  More Wilco than Style Council, the new sound of The Blow Monkeys is stylistically diverse and thoroughly engaging.

Feels Like A New Morning will surprise those who only know the band from "Digging Your Scene" or anything else they recorded in the '80s.  The Blow Monkeys prove here that they deserve your love and adulation.  They make it all sound so elegant with an edge..

I am totally digging their scene...

P.S. Be sure to pick up the 2CD version which features acoustic versions of Blow Monkeys classics!






Peace, love and pancakes,
Stephen SPAZ Schnee

Also available on Cherry Red:

Limping For A Generation (Deluxe 2CD Edition)

Animal Magic (Deluxe 2CD Edition)

SPAZ reviews OMD's English Electric!

OMD

ENGLISH ELECTRIC

Available NOW!

     Being a child born in the early '60s and raised with the music of The Beatles, The Monkees, Glen Campbell and Neil Diamond (amongst others) being played on a regular basis, I got quite used to the idea of  a Pop song.  Usually lasting around 3 minutes and featuring a melody that would stick in my head for hours, days or even weeks, the Pop song became my music of choice.  Throughout the '70s, the soundtrack of my life flowed from AM radio speakers.  It didn't matter who performed the song, if the hook was big enough, then I would gladly be reeled in without a fight.  

     By the end of that decade, I was old enough to look for my own audio treats and fell deeply in love with the burgeoning New Wave, Punk and Power Pop scenes and the artists that created that kind of music. When Synthpop and Electronic music began to make their mark, I was drawn to the glorious melodies that would float on top of this 'new' kind of music.  It didn't matter to me that there was not a guitar, bass or drum within earshot: to me, it was always about the song. And believe me, back in the early '80s, synth-based bands like Depeche Mode, The Human League, Heaven 17 and OMD (AKA Orchestral Manoeuvres In The Dark) were creating music that was groundbreaking, thought-provoking AND melodic.

     OMD's output has always intrigued me.  When some of the other bands were trying to act cool and detached, OMD were busy creating Pop music. Yes, these Liverpudlians were a true Pop band in every sense of the word. Singles like "Messages", "Enola Gay" and "Electricity" were extremely catchy slices of Electronic music, but the band had their more experimental side, too.  Their first few albums alternated between the commercial sound of their singles and their weirder side, which was just as engaging as the hook-filled hits.  When they released the album Dazzle Ships in '83, their experimental side took over, making for an album that was either hard to listen to or a true revelation.  On first spin, I think I coined the phrase "WTF?" but by the third listen, I was hooked.  The band then went back to their poppier side after that and recorded a string of amazing Pop-oriented albums that barely hinted at their more esoteric side (they saved those tracks for the singles' b-sides). But by the end of the '80s, the band split in two and, although OMD continued into the '90s (with Andy McCluskey remaining as the sole member), it wasn't quite the same.

     OMD's original four members (McCluskey, Paul Humphries, Malcolm Holmes and Martin Cooper) reunited in 2005, but it took another five years for their 'reunion' album to appear (2010's History Of Modern).  Though the original band hadn't released an album in 20 years, they picked up right where they left off.  There was no doubt that History Of Modern was an OMD album, and a great one at that.

     Now, three years on, OMD return with English Electric, an album that reaffirms their position as one of the greatest Electronic Pop bands of their generation.  It is an album that is steeped in tradition, yet fresh and exciting.  This is not a band trying to break away from their past - OMD are a band embracing everything that came before and reminding us why they mattered then... and now.  

     English Electric is an album that sounds like it could have been released between the aforementioned Dazzle Ships and it's more commercial follow-up Junk Culture (1984).  From beginning to end, it is a platter filled to the brim with wonderful melodic hooks (both vocal and instrumental) and plenty of experimental moments. English Electric is like taking the best bits off of Architecture & Morality and throwing them in a blender with the lush production values of The Pacific Age, adding chunks of a few of their better b-sides and mixing it all together.  Yeah, its that good!

     The only negative thing that can be said of the album is that it is not longer.  Songs like "Metroland", "Helen Of Troy", "Dresden" and "Stay With Me" are prime OMD pop tunes but you also get a fair share of 

sample-heavy experimental tracks like "The Future Will Be Silent", "Decimal", "Atomic Ranch" and "Please Remain Seated".  The blend of the two create an album that is lush and beautiful, but one that is over far too soon.

     With English Electric, OMD have created not only one of the best albums of the year, but also one of the best albums of their career.

     As time goes by, we all grow a little older and a little wiser. We go through changes and we experience magnificent highs and devastating lows in this journey we call life.  We learn and we teach. We laugh and we cry. We run and we crawl. But at the core, we stay the same.  And for all intents and purposes, that is what makes OMD entirely unique.  They remind us that it is OK to be who we are, just as long as we continue to move forward and and love what we do.  

Peace 'n' love,

Stephen SPAZ Schnee    

  Here is my EXCLUSIVE interview with OMD's Andy McCluskey as he promoted the History Of Modern album.