Thursday, May 30, 2013

GEORGE McCRAE Rock's Your Baby! The Soul/Disco Legend On BBR Records!


GEORGE McCRAE:  

The Reissues 

On BBR Records


"Woman, take me in your arms, rock your baby..."

For a song that's nearly 40 years old, "Rock Your Baby" by George McCrae has continued to live on and remains one of the biggest One Hit Wonders in the history of Rock, Soul, Pop and R&B. Not only that, it's one of the earliest and most popular Disco songs of all time. Those of us who were around when it was first a hit in 1974 remember it well, yet, surprisingly, there are also young teens today who are just as familiar with it thanks to it's longevity on oldies radio stations (yes, even on the internet). But does anyone remember any other hits from George McCrae?  No?  Has anyone bothered to give anything else a listen apart from the hit?  Did you know that he actually released some mighty fine albums?  No? Well, that's a real shame... but never fear - that's why SPAZ is here!



   
As you probably figured out, 'the hit' is on this album.  While many are only familiar with the single version, which is way too short at 3:19, the album opens with the full length version that, even at over six minutes and nearly double the length of the radio edit, is still too short! "Rock Your Baby" is pretty much the perfect Pop/Soul/Disco song, which is why the song continues to attract so many new fans with each passing year. What may surprise many folks is that the song was written by - and features musical assistance from - Harry  'KC' Casey and Richard Finch, the two men responsible for KC & The Sunshine Band, who wouldn't hit it big until the following year.  While the rest of the album doesn't deviate too much from the "Rock Your Baby" formula, it's jam-packed with great tunes (all of which are Casey/Finch originals). Songs like "You Can Have It All", "I Can't Leave You Alone (I Keep Holding On)", 'I Need Somebody Like You', and 'Look At You' are amazing slices of proto-Disco that are just as hook-filled as they are groove-alicious. With a reprise of "Rock Your Baby" ending the original album, it's a great album that showcases George's amazing vocals and the skilled songwriting of Casey/Finch.  Add single edits of "Rock Your Baby" and "Look At You" as bonus tracks, and you've got the perfect introduction to the world of George McCrae.  Hell, any CD that has a total of three versions of "Rock Your Baby" is tops in my book!







You know the saying: "If it ain't broke, don't fix it".  Well, the music business lives by that credo and when it came time to record his second album, Casey/Finch were back writing all the song and playing on them as well. Oh, and producing the album, too!  So, while they follow the same formula as the previous album, the production is warmer and fully realized, giving the instruments a little more breathing room.  And while there is no song as glorious as "Rock Your Baby", the album is still a wonderful slab of hook-laden proto-Disco. Album opener "Baby Baby Sweet Baby" paves the way for another album of groove-laden Pop/Soul tunes that definitely fall into the 'feel good' category. If you walk away from an album feeling good, then that is more than have the experience.  There is plenty of joy on display here and that is what matters most -well, apart from the good tunes, of which there are plenty.  As on his previous album, this self-titled platter is only interested in love, sex and a good time.  Tracks like "You Treat Me Good", "Honey I (I'll Live My Life For You", "I Ain't Lyin'", "You Got To Know" and "Take This Love Of Mine" are tasty treats that bear repeated listenings.  So why weren't any of them hits?  I have no idea...






With his third solo album due and Casey & Finch now busy with KC & The Sunshine Band, McCrae teamed up with songwriter/producer Gregg Diamond, who was best known at that time for writing and producing the massively successful single "More More More" by The Andrea True Connection.  While this seemed like the perfect match, McCrae gets lost in what is essentially a Gregg Diamond Disco album.  Yes, it's catchy, upbeat, fun and extremely worthwhile, but George isn't given the time to shine on Diamond Touch like previous albums.  Yes, he still sounds great and the songs are great, too, but the focus has shifted away from McCrae and, since it's HIS album, that's kind of hard to handle.  Still, its great fun and deserves a spot in your ever-growing George McCrae collection.  High points include "I'm Gonna Stay With My Baby Tonight", "Givin' Back The Feeling", "Dancin' Through The Storm" and and the Philly-Soul inpired "Loved And Lost". 



George McCrae may have only scored one MASSIVE hit, but there was far more to the man than that one hit.  There is plenty of proof here, within these grooves, that he should have scored more hits, but I suppose just having "Rock Your Baby" listed on your resume is not a bad thing. Not at all. 

Rock your baby,
Stephen SPAZ Schnee

THE CLASH/Sound System: The ONLY Box That Matters! Available September 10th, 2013!




THE CLASH

SOUND SYSTEM
(Box Set)

9.10.13


Sony Music Entertainment releases The Clash's Sound System, the band’s remastered recorded works collected together for the first time, on September 10, 2013. Contained within classic boombox packaging designed by Paul Simonon, the box set contains the band’s five seminal studio albums (across eight CDs) remastered by The Clash; an additional three discs featuring demos, non-album singles, rarities and B-sides; a DVD with previously unseen footage shot by both Julien Temple and Don Letts, original promo videos and live footage; an owner’s manual booklet; reprints of the band’s original ‘Armagideon Times’ fanzine as well as a brand-new edition curated and designed by Paul Simonon; and merchandise including dog tags, badges, stickers and an exclusive Clash poster.


In this clip, newly created by the band, watch The Clash announce the release of Sound System in "The Cut Out Show." See the trailer for Sound System here. 



Conceived and compiled by The Clash, Sound System is a significant and unique collection of the complete recorded works by the 20th century’s most influential British band. Greatly enhanced by the careful remastering which renders the original recordings more vital and crisp, all contained in Paul Simonon’s iconic design, with a selection of bonus material, Sound System is the most important and unique box set to ever be released by the band.



Prompted by demand for a complete collection, Sound System is a powerful reminder of The Clash’s enduring legacy. It’s hard to think of a band before or since that have exerted such universal influence. The 1970s punk movement gave birth to some important bands, but none were more important than The Clash. Here were a band who pushed and broke musical boundaries, while fusing musical experimentation with a socio-political conscience. From their eponymously-titled debut album in 1977, the band incorporated elements of reggae, rap, jazz, dance, rockabilly and ska in their music. Their passionate, political agenda continues to inspire new fans and musicians alike. Indeed, the issues The Clash tackled are as relevant today as they were in the late '70s/early '80s. Dubbed “the only band that matters” in their heyday, the same could be said almost 40 years later.





Sound System box set contents:



1. The Clash
2. Give 'Em Enough Rope (1 CD)
3. London Calling (double album, 2 CDs)
4. Sandinista! (triple album, 3 CDs)
5. Combat Rock (1 CD)



All newly remastered by The Clash with award-winning engineer Tim Young
• Three CDs featuring rare tracks, demos, non-album singles and B-sides (track listing follows)
• DVD including unseen Julien Temple footage, early Super 8 film shot by Don Letts, all the band’s promo videos and previously unseen live footage (details below)
• Owner’s Manual booklet
• Folder containing reprints of Armagideon Times 1 & 2 and Armagideon Times 3 (new edition of fanzine compiled and designed by Paul Simonon)
• Merchandise; dog tags, badges, stickers and a Future Is Unwritten note book designed by Harland Miller 
• An exclusive photo poster



Sound System Extra CDs tracklist:



Disc One
1. White Riot (Single version) 
2. 1977 (B-side) 
3. Listen (Capital Radio EP) / Interviews (Capital Radio EP) 
4. Capital Radio (Capital Radio EP) 
5. London’s Burning (Live B-side Remote Control) 
6. Complete Control (Single version) 
7. City Of The Dead (B-side) 
8. Clash City Rockers (Original single version) 
9. Jail Guitar Doors (B-side) 
10. White Man In Hammersmith Palais (A-side) 
11. The Prisoner (B-side) 
12. 1-2 Crush On You (B-side Tommy Gun) 
13. Time Is Tight (Black Market Clash) 
14. Pressure Drop (B-side English Civil War) 
15. I Fought The Law (Cost Of Living EP) 
16. Groovy Times (Cost Of Living EP) 
17. Gates Of The West (Cost Of Living EP) 
18. Capital Radio (Cost Of Living EP) 
19. Armagideon Time 
20. Bankrobber (A-side) 
21. Rockers Galore On A UKTour (B-side) 



Disc Two
1. Magnificent Dance (12”) 5:36 (available on Singles box set) 
2. Midnight To Stevens (Outtake) 
3. Radio One (B-side Hitsville UK)
4. Stop The World (B-side The Call Up) 
5. The Cool Out (US 12” B-side of The Call Up) 
6. This Is Radio Clash (A-side) 
7. This Is Radio Clash (B-side 7” – different lyrics) 
8. First Night Back In London(B-side Know Your Rights) 
9. Rock The Casbah (Bob Clearmountain 12” mix) – PREVIOUSLY UNRELEASED
10. Long Time Jerk (B-side Rock The Casbah) 
11. The Beautiful People Are Ugly Too (Outtake) – PREVIOUSLY UNRELEASED
12. Idle In Kangaroo Court (Outtake listed as Kill Time) – PREVIOUSLY UNRELEASED
13. Ghetto Defendant (Extended version - unedited) – PREVIOUSLY UNRELEASED 
14. Cool Confusion (B-side Should I Stay Or Should I Go 7”)
15. Sean Flynn (Extended ‘Marcus Music’ version) – PREVIOUSLY UNRELEASED
16. Straight To Hell (Extended unedited version from Clash On Broadway) – PREVIOUSLY UNRELEASED



Disc Three
Extracts from The Clash’s first ever recording session at Beaconsfield Film School 1976. Recorded by Julien Temple 
1. I’m So Bored With The USA 
2. London’s Burning – PREVIOUSLY UNRELEASED 
3. White Riot 
4. 1977 – PREVIOUSLY UNRELEASED



Polydor Demos - The Clash’s second recording session November 1976
Produced by Guy Stevens
5. Janie Jones 
6. Career Opportunities
7. London’s Burning – PREVIOUSLY UNRELEASED 
8. 1977 – PREVIOUSLY UNRELEASED 
9. White Riot – PREVIOUSLY UNRELEASED 



Live at The Lyceum, London28th December 1978

10. City Of The Dead 
11. Jail Guitar Doors – PREVIOUSLY UNRELEASED 
12. English Civil War 
13. Stay Free – PREVIOUSLY UNRELEASED 
14. Cheapstakes – PREVIOUSLY UNRELEASED 
15. I Fought The Law 



Bonus DVD
Julien Temple Archive - 6:20
White Riot Interview - 7:10
Promo and interviews with Tony Parsons
1977 1:87
White Riot 1:48
London’s Burning 2:05



Sussex University 1977 

I’m So Bored With The USA 2:14 – PREVIOUSLY UNRELEASED
Hate & War 1:94 – PREVIOUSLY UNRELEASED
Career Opportunities 1:42 – PREVIOUSLY UNRELEASED
Remote Control 2:73 – PREVIOUSLY UNRELEASED



Don Letts Super 8 Medley 11:40
White Riot 1:52
Janie Jones 1:73
City of the Dead 2:04
Clash City Rockers 2:15
White Man in Hammersmith Palais 2:53
1977 1:41



Clash On Broadway - 19:50

London Calling
This Is Radio Clash
The Magnificent Seven
Guns Of Brixton
Safe European Home



Promo Videos
Tommy Gun 3:00
London Calling 3:20
Bankrobber 4:00
Clampdown (Live) 5:00
Train In Vain (Live) 2:10
The Call Up 3:10
Rock The Casbah 3:20
Should I Stay Or Should I Go (Live at Shea Stadium) 2:50
Career Opportunities (Live at Shea Stadium) 3:00




The Clash – The Clash - Hits Back 



Released simultaneously, The Clash - Hits Back features 33 of the band’s iconic tracks across a 2-CD set or a 3-LP vinyl set. The tracklist is sequenced from the band’s legendary Brixton Fairdeal show in 1982. 



The Clash – Hits Back contains the best studio recordings of the full set, plus 8 additional iconic tracks. It comes with the original setlist, handwritten by Joe Strummer which he usually taped to the back of his Telecaster before each gig. 



“Every show was different. Joe would spend a lot of time composing the running order, considering dynamics, emotional impact and the key the songs were in. This record is based on Joe’s setlist from The Casbah Club UK Tour, Brixton Fairdeal, 10th July 1982”. Mick, Paul & Topper.



Disc 1 
1. LondonCalling 
2. Safe European Home 
3. Know Your Rights 
4. (White Man) In Hammersmith Palais 
5. Janie Jones 
6. The Guns of Brixton 
7. Train in Vain 
8. Bankrobber 
9.Wrong 'Em Boyo 
10. The Magnificent Seven 
11. Police On My Back 
12. Rock The Casbah 
13. Career Opportunities 
14. Police & Thieves 
15. Somebody Got Murdered 
16. Brand New Cadillac 
17. Clampdown 



Disc 2 (Joe Strummer's setlist continued)
1. Ghetto Defendant
2. Armigideon Time
3. Stay Free
4. I Fought The Law
5. Straight To Hell
6. Should I Stay Or Should I Go?
7. Garageland



Additional Tracks: 



8. White Riot
9. Complete Control
10. Clash City Rockers
11. Tommy Gun
12. English Civil War
13. The Call Up
14. Hitsville UK
15. This Is The Radio Clash



The Clash – The Clash 5 Studio-Album Set 

(Includes The Clash, Give 'Em Enough Rope, London Calling, Sandinista!, Combat Rock)

Available separately as CD or vinyl box sets, and download. CD box set includes 8 discs. Vinyl LP box set includes 8 vinyl LPs. 


Friday, May 24, 2013

Writers On The Storm: Fans pay tribute to RAY MANZAREK



RAY MANZAREK

1939-2013


A Tribute In Words and Pictures



"I met Ray backstage at the Whiskey when my band 20/20 first started playing there. I had a million questions for him and he was kind enough to give me a few minutes. He was a great guy."- Ron Flynt (20/20)


"One big takeaway from Doors drummer John Densmore’s Riders On The Storm was that he uniquely grokked Jim Morrison’s essence, a fact tragically overlooked by everyone, most notably Jim himself. So I was glad to see Densmore back off a little and allow as to how maybe Ray kind of got it too: “It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of.” Not the highest praise, maybe, but a start. ”Holding down the foundation” is what we say about relatively undistinguished rhythm sections… I mean, did Keith Moon merely hold down foundations, or did he float on top?

One day in 1967 or early ‘68, a DJ at a San Francisco radio station – probably KYA – played the Doors’ Light My Fire about a hundred times in a row, interspersed with an instrumental version of Love Is Blue. At least, it seemed like a hundred times, and I’m pretty sure it was Love is Blue. I think it was a competition, with people calling in their votes while their choice for best song was playing. In any case, I heard Ray’s starting riff on Light My Fire over and over as 10-year-old me rode in Mom’s car that day. I can’t say I became a Doors fan on the spot, but a seed was certainly planted.

A few months later, my parents got busy sloughing off earthly possessions in preparation for our move to a new life in Soviet Russia. Records were not on the keep list, but with amazing prescience, my Dad borrowed from someone a stack of popular LPs (which included the Doors’ first two albums) and ripped them to a reel-to-reel, just in case I or my sister might want something to listen to behind the curtain. Those recordings became the soundtrack of my pre-teen years, even though there was something missing. For years, I couldn’t put a finger on it, but they sounded… less rich, especially Light My Fire, of which I still had a vivid memory.

What was missing was the left channel. The equipment my Dad borrowed to rip the albums was a mix of stereo and mono, and somewhere in the chain of plugs and cords and adaptors the left stereo channel was dropped, resulting in a high-fidelity monaural recording of only the right stereo channel. To get an idea of what I obsessively listened to in the waning months of the ‘60s, you have to throw an old vinyl disc of the Doors’ first album on a record player, and crank the balance knob hard-right. On Light My Fire, what you get is Morrison’s stark voice, Ray’s keyboard-bass, Densmore’s drums, and but a subtle whisper of Krieger’s guitar and Ray’s keyboard solos. We’re talking 5 solid minutes of bass and drums. Bum, da-da-bum, da-da-bum, da-da-bum, da-da-bum… This, indeed, was John and Ray holding down the foundation while Robby and Jim floated somewhere in a purely hypothetical realm called the Lost Left Stereo Channel. The foundation was all there was to it. So I know where John Densmore is coming from – all he ever heard, or wanted to hear from Ray was that right channel.

A couple years later, I’m not sure when or how, I was in possession of the best live concert album ever created in the history of the universe, The Doors Absolutely Live. I played those discs till you could see a glimmer through the tracks if you held them to a light. If you have this album, pop it onto your trusty Dual (you still have your trusty Dual, right?) and nudge the needle over to track 2 of side B, When The Music’s Over, and take note as Ray holds down the foundation with his rock-steady keyboard-bass. Also take note of his glorious psycho-freakout keyboard assaults as he floats on top. Take note of how Ray Manzarek manages to float on top of himself."- Greg Bratoff (fan)



FIVE TO ONE: 


My five moments with Ray Manzarek

"My love for the music of the Doors stemmed from my high school days, when the search for identity and causes for rebellion were making themselves known. As much as Jim Morrison was the perfect poster child for the similar masses, the Doors were more than that. They were a band. Each member had their own identity. Of them all, Ray Manzarek seemed the least likely to be a rock musician. The eldest member of the band, he looked more like a teacher than anything else. Well, teach he did. If you were to break down the musical structure of the Doors’ music, it would be instantly less definable without Ray’s keyboards. It was a sound that could not be found with such ferocity across the legion of sixties bands that often copied their peers. The music is still played constantly on the radio today, over four decades later. Having carried this music with me for so long, and having lived in the greater Los Angeles area where this music was born, I feel a strong bond with it and what it has always represented to me. It’s kept me good company.
With the passing of Manzarek on May 20th, I’d like to share some of the in-person memories I have of Ray from over the years.


January 8, 1988 – With a couple close friends, I made the trek to the Wiltern Theater in Los Angeles for the Rock On Film Festival that was put together by the American Cinematheque organization. A whole evening was dedicated to playing rare Doors films such as “The Doors Are Open” and “A Feast Of Friends”. Ray was on hand to host the sold out event, where he introduced the clips and spoke at length about the sixties and the positive effects of taking psychedelic drugs. Of the films he introduced, the most interesting piece was a bit of “lost” black & white footage of the Doors lip-synching to “Light My Fire” for ABC television back in August of 1967, somewhere on the beach near Malibu. Jim wasn’t too keen on the fake performance, so he simply didn’t show up for the filming. Robby’s brother, Ron, stood in for Jim with his back to the camera. The laughter that followed the story was priceless.

October 25, 1998 – An avid record collector, I found myself attending the Greater Orange County Record Show on a regular basis. They would often have music celebrities there for autograph sessions and appearances in general. In the past, I had met the likes of Laurence Juber, Jan Berry, Delaney Bramlett, Spencer Davis and others. But, it was Ray Manzarek that blew them all away. He was on another level altogether, and I could not believe I was going to have a moment to thank him for all the great music. I waited in line with a sweet Doors poster, a CD box set that had just come out, and one of those expensive gold CDs for the “L.A. Woman” album. He signed them all and quickly agreed to take a picture with me. He was as cool as you’d imagine. Having a one-on-one conversation with THAT voice was unforgettable. After all, he was the storyteller of the band… until the end.

August 5, 2011 – County fair shows are often hit or miss. Sometimes you get some A-rated talent, and other times you get complete washouts trying to revive a career. When it was announced that Ray Manzarek & Robbie Kreiger were to play the Orange County Fair, I figured… why not? Tickets were certainly not expensive, and it was promised to be a complete show of Doors music, by two of the three surviving members who MADE the music! To boot, they had recruited Dave Brock, the lead singer of Wild Child (a Doors cover band that I used to see at the Whisky back in the late 80s). My buddies and I purchased seats up in the lawn area, thinking that from that great distance… we wouldn’t be able to see how old Ray and Robby were getting… and that that wasn’t really Jim Morrison on stage. That, and a few beers helped our cause. We could fool ourselves into believing that we were back in the 60’s. However, when the opening notes to “Roadhouse Blues” kicked in, it did not matter one bit. This music was authentic and no one could play keys quite like that. I instantly wished I had gotten better seats. Still, Ray paid tribute to those of us “on the grass” in a way that only he could. My friends and I danced and sang and raised our cups to the music and the men who made it. Oh, and “Blue Sunday” was the best possible song they could have pulled out of their back pocket, and they nailed it!

January 20, 2012 – Since high school, I had devoured each and every Doors documentary I could find. I soon learned the legend of the band through interviews and shocking live concert footage. The band evolved greatly in the short time they were together, both visually and sonically. The very last official Doors documentary to be made was one that focused on the making of their very last album, “L.A. Woman”. “Mr. Mojo Risin’: The Story Of L.A. Woman” was set for home video release in early 2012, but there was to be a very special screening in Hollywood at the Egyptian Theater. I was lucky enough to get an invite. The film itself was a great way to showcase the last chapter of the quartet, but beyond that, there was a Q&A at the very end that included special guests. Among them, Elektra Records founder Jac Holzman, engineer/co-producer Bruce Botnick, guitarist Robby Kreiger and the man, Ray Manzarek! As Ray was introduced to come up, the crowd cheered with excitement. He very slowly made his way to the stage, giving me the idea that perhaps he was in a weakened state. I had wondered if something was wrong, but once he spoke, there was no further indication of anything amiss. Afterward, we tried to make our way down and shake his hand, but he was quick to the exits with Robby.



August 17, 2012 – It’s no secret that I’m a huge fan of the L.A.-based punk band X. Their first four albums were produced by Ray. Go figure. Ray even used X lead singer John Doe in the music video for “L.A. Woman”. Their relationship goes way back, and I had always loved that about the band. This last year, I got wind of a special concert that was to be part of the Sunset Strip Music Festival in Hollywood. That year’s festival celebrated the legacy of the Doors. At the Roxy, X was scheduled to play their “Los Angeles” album in its entirety… with special guest Ray Manzarek! I was so surprised that I got a ticket to such a big show in such a small room, without much problem at all. Of course, word got out, and the thing sold out in a flash. I prepared myself for a humid evening crammed up against a sea of fellow fans. Sure enough, I made my way to the foot of the stage, watching most of the show from the side with a head-on view of Ray, who sat in for at least six full songs. He was full of energy. A definite juxtaposition to how he appeared earlier in the year. He was excited to be there, and the band was honored to have him. The Doors’ “Soul Kitchen” was played twice, leading me to believe that it may have been filmed or recorded for posterity (or future release). As Ray left the stage following his last song, he headed to my side of the stage. I held my hand up high and he slapped it with the confidence that he gave us his usual best. That was the last time I saw Ray, and it seemed as though he was as relevant and strong as ever.

Ray left us earlier this week. The anticipation that came with my tickets for the upcoming Ray & Robbie concert at this year’s O.C. Fair has turned to sorrow. If we’ve learned anything from the years of preaching from Ray about Jim’s life and spirit… it’s that we all have the opportunity to make our mark and that life is merely a celebration on this plane. Perhaps he’s with Jim now, making music together and reminiscing about the days at the London Fog or their time at UCLA film school. Regardless, we’re left with a rich catalog of music that never stops. We’ll always have that as long as we’re here. Thanks for the music, and thanks for making a difference.

Break on through, Ray." -Dave Rayburn (musician)



"The recent drummer that toured with Ray Manzarek and Robby Kreiger - Ty Dennis - was a graduate of Garden Grove High School (SPAZ's alma mater) Class of '89. When Janet (Conney) and I went to the Anaheim House of Blues Show, Ty came out and visited with us for about 15 minutes before the show, and took a couple pics. Janet and I had tickets for the upcoming Aug 10th show at the Pacific Amphitheater. We are very sad about Rays passing. I'm glad that I went to several shows over the last seven years: two at Pacific Amphitheater, two at Anaheim House of Blues and 1 at The Grove Anaheim. This pic (shown above) was taken at The Grove Show, October 2009." -Lynne Levick (fan)




"Ray Manzarek, the founding keyboardist for the Doors, was super kind and cool with me on the air as I asked him all sorts of questions about song royalties, residual checks and other questions he was never asked before. Apparently I went way over the line and he was pleased as punch to share details with the radio audience. He was always a good sport and extremely smart to have on my radio show. I grew up with the music of The Doors and it was an honor to have him on the broadcast. He was just a regular guy who played keyboards in an iconic band that sold over one hundred million albums worldwide. He was just here on Maui last February performing in concert with Roy Rogers with their brand new album "Twisted Tales" under the name Manzarek-Rogers Band. Ray, you were a fine keyboard player but most of all, a real down to Earth guy. You will be missed..." -Michael McCartney (DJ)

Thursday, May 23, 2013

BROKEN TOYS and THE MILLIONS NE: Two Obscure '80s Bands Rise Again With New Reissues!



OBSCURE '80s BANDS RISE AGAIN
 WITH NEW REISSUES!


     Back in the day when most record stores sold more than just the Top 40 and hit catalog titles, you could troll through the bins and come across hundreds of albums by artists that you'd never heard of before. While some folks may have shrugged these bands off, there were many that would pick up the album, read the back sleeve notes and try to get an idea of what the band was all about.  The more adventurous music fans with a little extra money to spend often bought albums based on anything from the cover to the producer, the label or the picture on the back of the album cover.  I'm guilty of doing just that.  Back in the late '70s and early '80s, I'd buy records just because the band looked like they might be Power Pop or New Wave.  Heck, I think I bought albums from practically every band that had a 'The' in front of their name and had at least one member who wore a skinny tie.
     With so many releases every week, it was hard to keep up with new bands.  Thousands of them slipped through the cracks, never to be heard from again.  If you have a pretty large music collection, you probably have records by a lot of obscure bands.  Some of them may have been popular in other countries, but here in the good ol' U.S. of A., they never quite made a mark.  And as we all know, there are more worthwhile bands that didn't make it than there are million-selling artists. That is a given.
     But what about those bands that never scored a hit record or received much, if any, airplay apart from their local radio stations who (hopefully) supported them? We all know that just because they didn't sell albums by the bucketloads doesn't mean they weren't worthy of our attention, and that is why reissues are so damn important these days - they remind us of the bands we once loved and may have forgotten or they introduce us to an artist that we sadly missed first time around...
     Two recent reissues that I'd like to bring to your attention are ones by BROKEN TOYS from Stockton, California and THE MILLIONS NE from Lincoln, Nebraska. While The Millions NE were signed to a major label (when they were simply called The Millions), Broken Toys released their album independently.  Both bands have built up cult followings over the years and both have just reissued some pretty amazing music that will hopefully bring them to the attention of a wider audience...







Broken Toys formed in Stockton California in 1984 and three years later, released their only album, The Cut Of Memory. Though the band never really broke out of the local scene in a big way, they did manage to play 800 shows during their lifetime, opening for some of the best of the '80s brigade including Echo & The Bunnymen, Modern English and The Church.  Their sound was definitely Euro-influenced and while they could be considered Goth by some folks, their melodies are far too pretty for that. They used synths to flavor the songs with haunting melodies that helped to accent the songs, not to carry them.  There are plenty of real drums, bass and guitars to drive the songs home.  Vocally, there had great melodies and harmonies that added even more depth to the songs.  

While the production is thin at times and there are a few flat vocal notes, The Cut Of Memory is an excellent listen for anyone into '80s New Wave, Pop and, yes, Goth.  There are many stand out tracks on the album including "Caressa Swtich", "Ileana (Imagine Me)", "Angels On Horseback", "Red Square" and others.  The nine bonus tracks add a few non album cuts mixed with alternate versions of album tracks.  At times sounding like a tasty demo, the songs are so good that the band would surely have made their mark had they recorded with a proper producer and had the support of a major label. For anyone who loves the '80s New Wave, Indie or Goth scenes should really do themselves a favor by checking this release out.  



The band that Broken Toys kind of reminded me of on first listen was another obscure American band from the same era called Digital Sex.  Led by singer/songwriter Stephen Sheehan, Digital Sex were from Nebraska.  A longtime music fan and record store owner by the name of Randy LeMasters had a lot to do with getting their retrospective  CD in the shops some two decades ago.  Coincidentally, LeMasters was also responsible for releasing...





OK, so technically, The Millions NE are not an '80s band, but they were born at the tale end of the decade and these recordings missed out on being '80s tracks by only one year, so I chose to include it on this feature...

The Millions NE's tale is much like a lot of other bands' bittersweet story.  A promising band gets signed to a major label but things don't go as planned... Here's a recap of their press release: 

"In 1989, The Millions formed out of the ashes of two popular groups from Lincoln, Nebraska. Greg Hill and Harry Dingman III came from the recently disbanded For Against, while Lori Allison and Marty Amsler joined from The New Brass Guns. Polygram became the first major label to pick up a Lincoln band for more than 20 years when they signed The Millions and connected them with longtime Rush producer, Terry Brown. The Smash/Polygram album from those sessions—M is for Millions—was released in October 1991. Two years after M is for Millions, the band released the album Raquel on Dream Circle, another Polygram label. In support of Raquel they embarked on a European tour opening for Sheryl Crow. However, in 1995, The Millions disbanded."

Poison Fish consists of unreleased tracks that the band had recorded before signing with Polygram. For anyone who missed the now deleted M Is For Millions, this is your chance to get connected with this mesmerizing band that hits all the right marks when it comes to moody, emotional guitar pop. If you are already a fan, then this release will reignite your passion for the band. While comparisons to other bands is difficult, it is safe to say that The Millions NE are certainly closer to All About Eve or Throwing Muses than other female-fronted bands of the era like The Bangles.  In fact, there are even hints of Siouxsie & The Banshees on Poison Fish.  Lori Allison has a powerful voice, but she doesn't attempt to win hearts with her femininity - she sings from the soul, never cooing like a baby or wailing like an angry cat.  Her voice is one with the music and doesn't attempt to fight to be heard. The songs are slow burners, sinking into your brain by the second and third listen. Poison Fish may feature recordings from 1990, but their sound is timeless.

THE MILLIONS NE promote Poison Fish with a reunion show in December of 2012. 


Peace, Love and Pancakes,
Stephen SPAZ Schnee