SPAZ reviews HELEN LOVE's Day-Glo Dreams!

HELEN LOVE

DAY-GLO DREAMS

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OK, let's be honest here: I'm not going to pretend that I know everything that there is to know about Helen Love.  I've always been an admirer from a distance.  I've picked up their CDs over the years and I've listened to them quite a bit. I'm most certainly a fan, but I've managed to remain happily ignorant to WHO they are, what kinds of cars they drive, what their favorite TV shows are, etc.  Here is what I do know:

1. Helen Love is a band AND a person (but I will refer to them as a band)

2. They are Welsh

3. They adore Joey Ramone, Debbie Harry and quite a few other original Pop icons

2. They love all sorts of pop culture but especially music

1. They make great Pop records

Roughly 20 years ago, they released their debut single, "Formula One Racing Girls", a slab of lo-fi Twee pop that was blessed with more imagination than musical chops, but it was obvious they were destined for bigger things... especially with their blend of 8-bit video game samples, Punk guitar and Girl Pop melody.  Over the next two decades, they've perfected that formula while losing members, gaining members, turning up the guitars, adding Techno to the mix, turning down the guitars, etc.  As they've moved towards an Electronic-based sound, their songwriting style hasn't changed.  They are still very much influenced by The Ramones, Blondie, Glam Rock, Bubblegum Pop, Girl Pop and whatever else suits their fancy.  It's really kind of interesting just how many different things they've added and subtracted to the mix and yet they remain uniquely Helen Love.

When Elefant Records released the excellent It's My Party And I'll Play What I Want To album back in 2007, it was a groovy platter that referenced everything from the 1910 Fruitgum Company to the Macca & Wings single "Jet" to Rodney Bingenheimer's legendary nightclub Rodney's English Disco. Their lyrical focus was still firmly in the past, but their music kept moving forward. the songs had more depth, more shadows and more light. To some, it may have seemed as if they were playing the same old song over and over, but if that was the case, it was a pretty damn great song!

Now, six years later, Helen Love return with an album that continues their forward trajectory without sacrificing a bit of who they were.  In fact, if you couldn't tell by the album's title, Day-Glo Dreams, the band has finally embraced the '80s and added a lot of great references to that era in their lyrics. "Spin Those Records" namechecks Michael Jackson and Culture Club in the bridge and middle eight and chorus! However, they certainly haven't turned their backs on their roots. "Atomic" may or may not be titled after the Blondie song (it probably is). "We Are The Lo-Fi Kids" references their Indie beginnings, but they sound much bigger and bolder than their initial run of singles.  More electronic than guitar oriented, Helen Love are a Pop band right down to the core.  There are so many hooks on Day-Glo Dreams that it should be sold in a Bait & Tackle shop in every beach town up and down the coast! 

Helen Love may not change the world, but they probably don't want to.  Their simple yet catchy pop tunes might possibly change YOUR world.  This is an album that will enchant Indie Pop fans as well as Electropop and '80s fans.  Helen Love are definitely charming and their tunes are quite delicious. Beloved by those that have fallen under their spell, Day-Glo Dreams will hopefully rope in a new generation of fans and maybe encourage the band to come out with something a little quicker next time around!  Until then, this is pure audio bubblegum that will keep us Pop geeks quite happy for the next 100 spins or so!

Peace, love and Pop
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

ROMAN HOLLIDAY/Cookin' On The Roof: Digitally remastered and expanded edition due on July 30th, 2013!

ROMAN HOLLIDAY

COOKIN' ON THE ROOF

(Digitally Remastered & Expanded Edition)

7.30.13

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Finally!

Like JoBoxers, Dexys Midnight Runners, Haircut 100 and a few other bands, Roman Holliday stepped outside the box when creating music.  The guys in RH wrote a set of crackin' Pop tunes that other bands would kill for.. However, instead of slashing away at guitars or plonking a few keys on the synthesizer, they added a Swing beat, some horns and put out a top notch debut album in 1983 that pre-dated the Swing revival by about 10 years!

With two non-album b-sides (which I believe were on the U.S. cassette?) as well as two acapella versions and two remixes, this is going to be amazing... 

·         ROMAN HOLLIDAY were an early 1980s pop band who mixed swing jazz into their sound to great effect.

·         In 1983, the band scored a memorable hit single with ‘Don’t Try To Stop It’, which peaked at No. 14 in the UK and made the US Billboard Top 75.

·         Debut album COOKIN’ ON THE ROOF reached the UK Top 40 and also graced the US Billboard listings, opening with their hit but also including the band’s earlier, minor hit ‘Stand By’ and subsequent Top 40 hit ‘Motormania.’

·         This is the first time that COOKIN’ ON THE ROOF has been on CD in the UK (it was only previously issued in Japan). It’s remastered from the original tapes with six bonus tracks.

·         Original members of ROMAN HOLLIDAY are helping out with this long-overdue reissue, contributing rare photos and pictures for the booklet as well as being involved with the sleeve-notes.

Tracks: 

1.     DON'T TRY TO STOP IT

2.     MOTOR MANIA

3.     I.O.U.

4.     JIVE DIVE

5.     MIDNIGHT BUS

6.     COOKIN' ON THE ROOF

7.     STAND BY

8.     NO BALL GAMES

9.     FURS 'N' HIGH HEELS

10.   SERIOUS SITUATION

11.   ONE MORE JILT

BONUS TRACKS

12.   DON'T TRY TO STOP IT (Acapella)

13.   ROUND AND ROUND

14.   MOTOR MANIA (Acapella)

15.   BEAT MY TIME

16.   DON'T TRY TO STOP IT (Extended Club Mix)

17.   MOTOR MANIA (Extended Club Mix)

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