THE BARBARELLATONES
Invasion Of The Surf Zombies (Barbarellatones; CD)
     The cover and song titles deceived me into thinking this was a surf/instro album. After all, instro bands love to give their tunes crazy titles like 'Night of the Surfing Dead', 'Return Of Mothra', etc. I was disappointed to find that all 19 tracks are vocal numbers loosely based around a B-movie trash horror/SF theme. Some are taken from other releases by main songwriter Robbie Quine, who describes his music as a 'goth/glam hybrid'. (Shudder).
     The Barbarellatones have really missed the mark. The horror theme has been done before and done better. One of the great things about B-movie schlock was that the old monsters weren't really scary and the sex was more cheesecake than porn. The 3-D Invisibles understood this, and issued a couple of albums respectfully based on the old movies they loved. Quine has no such respect for his subjects. A lot of the lyrics on this album are puerile, cheesy or downright unpleasant – sex androids masturbating, zombie drag queens, transvestite troglodytes and so on. Thirteen year old boys may be impressed but most adults will quickly lose interest and not want to hear the songs more than once. One spoof horror song on an album might be fun, but not 19, especially when the actual tunes are so undistinguished. Individual songs contain interesting parts featuring, for example, electric sitars or good breaks, but then they are spoilt by the naff lyrics and lack of decent hooks.
www.barbarellatones.com
www.cdbaby.com
Phil Suggitt

TONY BORLOTTI E I SUOI FLAUERS
Il Mondo E Strano (Teen Sound; CD)
     This CD compiles the 13 songs from the 2003 vinyl LP with three out-takes, three songs from a 7' EP and two demos. I wrote a complimentary review in the August 2003 section, and it still sounds good. The extra cuts follow the same approach as the LP and are just as enjoyable. The band hark back to the sound of '60's Beat Italiano', with a clean sound leaning more towards pop than garage, featuring strong, well-arranged vocals. Even the demos are more polished than many band's final studio creations. Only the demo version of 'Blues Theme' is a little more aggressive than the band's usual style.
     The international audience shouldn't be deterred by the Italian language vocals – I can't understand a word, but it still sounds fine to me!
teensound@iol.it
mistylane@iol.it
Phil Suggitt

JOHNNY CASINO'S EASY ACTION
I Paid For Affection (Off the Hip; CD)
     Johnny Casino and Easy Action are centred around brothers Johnny and Graham Spittles from Asteroid B612, who indulged their love of classic American rock and pop sounds by teaming up with a team of like minded souls in Philadelphia and NY to record 'honest rock 'n' roll music played with a gritty and dangerous edge.'
     Apparently a French fan described Johnny Casino as 'like Chuck Berry on acid'. This is misleading, because this music has no trace of psychedelic or lysergic influences – if anything, it's fuelled by beer, whiskey and pills. If comparisons have to be made, Johnny sometimes comes over like a supercharged Mitch Ryder, bashing out old classics like 'Jenny Jenny' and 'Stop And Think It Over'. On other tracks the band follow a folk-rock/Americana direction, including a good version of The Bands' 'The Shape I'm In' and 'Jack Of Diamonds' (the snarling guitars don't do it for me on this one; give me The Daily Flash any day). The legendary Mike Wilhelm, ex-Charlatan, ex-Groovie, plays guitar on the song he contributes, 'Number One', which is the best new song on the album.
     My only reservation is that the band's songs generally don't live up to the standard of the covers; they are energetic, competent but average rockers.
     The booklet contains an amusing story in a low life noir style that would make Charles Bukowski chuckle.
www.offthehip.com.au
Phil Suggitt

THEE CAVEMEN
Il Buio a tra di Noi (Teen Sound; miniCD)
     Now that Luca Re and The Sick Rose have moved towards a power pop style, the Cavemen have picked up the torch for 80's style garage punk in Italy. Their debut CD reminds me a little of that fine but now defunct Swedish combo The Strollers. The production is good and the two guitarists Matteo and Michele sing well. I prefer the four opening tunes, which are sung in Italian; as they have more melody and a bit more pizzazz than the last couple of tunes which are sung in English. I am not sure if this is just coincidence, or if they just feel happier singing in their mother tongue. There is even a cool cover of a Gruesomes' song, translated into Italian as 'Vigliacco!' Now that's what I call good taste.
teensound@iol.it
mistylane@iol.it
Phil Suggitt

SEBASTIAN CLARK
Songs From a Van (Self-released; CD)
     'Songs From A Van' is exactly what it says on the cover – a DIY record made in the back of Sebastian Clark's 1982 VW Camper Van,' Deidre', over the course of a year's travels around Southern California. The packaging brilliantly subscribes to the DIY ethic, as the 'case' is made from cut up, recycled cardboard boxes stuck together with masking tape. Hilariously my copy still retains part of a sticker revealing the price of the unknown item the cardboard originally protected - $3999.99. Phew! The most expensive new CD ever!!
     Sebastian has a sweet, pleasant voice which is ideal for his engaging folk/pop tunes. What he does best is airy, summer folk-pop, double tracking his vocals over acoustic guitar and bongoes. Songs like 'Home' and 'Baby (Let's Start Over)' have a wistful feel, but are also charming and catchy. Occasionally the ambitious attempts to use parts of the van or bottles of pee as home-made percussion fall short, as they just sound clunky and amateur, as on 'Glassy Eyes' and 'One Step Ahead'. Elsewhere, guitar, bongos and (crucially) neat tunes make for a winning combination. Maybe the next step is to make an album with Ben Vaughan, who likes to record in his '65 Rambler. The pair of them can come and record in my old Skoda anytime!
www.sebastianclark.com
Phil Suggitt

THEE CRUCIALS
Instant Party! (Smash Teen Sounds; "7' EP)
     Nostalgic vinyl reveries were spoilt by the sight of the stylus surfing across the record due to terrible warping. I only managed to achieve a listenable sound by weighing down the cartridge with a small coin – don't try this at home kids!
     The Crucials have a feisty organ-fuelled 80's garage sound, courtesy of the wonderfully named Mr. Mysterioso. (Didn't he fight Spiderman in 1965?) The band clearly love the classic Nuggets and Back From The Grave bands, and it shows in a good way; by inspiration not imitation. The songs are fast and furious. I particularly like the instrumental 'Crucials Are Go!' and the catchy 'Doe Eyes'. (Sorry guys, only the girls in Japanese Manga actually have doe eyes).
     On the sleeve The Crucials thank 'American made beer'. If they came to Europe their lives would be changed forever once they tasted some real beer that actually contained taste, flavour and alcohol!
www.myspace.com/theecrucials
Phil Suggitt

MARTIN GORDON
How Am I Doing So Far? (Radiant Future;CD)
     The facts: This is a compilation of songs from Martin Gordon's three solo albums, with an extra four unreleased tunes. Martin's long and varied career has included Sparks, Jet, Radio Stars, tons of sessions, production work and world music.
     The music: If you are a fan of Cheap Trick, Jellyfish, Sparks, ELO and even Queen you will probably enjoy this. The production is immaculate, the playing is slick, the vocals are pristine and carefully arranged. Lyrically the songs are often witty, humorous and sophisticated. My problem is that, like all the bands mentioned above, the sound can be so clean, shiny and polished that it is often easier to admire the craft than take the music to your heart. On a lot of the songs the individual parts are good, but don't always make for a satisfying whole. 'Daddy Lost His Head In A Coup' is a good example; witty lyrics about internet banking fraud, very well played and sung but lacking a really memorable tune or heart-stopping melody.
     Some of the songs are clever but rather annoying, such as the Gilbert and Sullivan tune, 'The Captain Of The Pinafore' which reminds me of Queen (never a good thing), or the Mockney rhyming slang of 'How Am I Doing So Far'. On other songs the OTT approach really works, like the driving cover of 'Love Power' from the movie 'The Producers.'
     One of the out-takes included is 'Girls Fight Over Me' from the Radio Stars days. It reminded me that the best Radio Stars songs were simpler and cruder than most of the songs here, but they had a more direct appeal due to the big hooks and catchy choruses. Sometimes if you don't polish a stone too much you can more easily tell if it's a real gem or a pebble.
www.martingordon.de
Phil Suggitt

GRASP
Breaking DownThe Walls (Biff! Bang! Pow!; CD single)
     Judging from the vast bargain bins of giveaway-priced single found in most record stores, the independent CD single may not have much of a future. You aren't going to find singles like this amongst the supermarket AOR and kiddiepop; the likely outlets are gigs and web sales. 'Breaking Down The Walls' blasts along at a fair old pace, with lots of edgy guitar and a decent, anthemic tune. The backing vocals repeat the lead vocal to good effect. Grasp are serious about chart success, including a promo video for the single, but mod hasn't been for the masses since the late 70's. The video shows where the single will be best appreciated – by a group of writhing fans in a sweaty little club.
www.biffbangpow org.uk
Phil Suggitt

RICHARD MCGRAW
Song And Void (Non-Utopian; CD)
     The opening tune, 'Butter Hill' is a piece of classic Americana that strongly evokes the spirit of Jesse Winchester's great but unheralded albums of the 70's and 80's. Like Winchester, McGraw has just the right voice for maudlin, heartfelt ballads. However, Winchester was an incredibly versatile songwriter who was comfortable in a variety of styles. McGraw is fully at home on a brace of very slow, largely acoustic ballads, backed by minor key instruments such as tubas, harmoniums and violins. Whilst the mournful laments are carefully crafted and beautifully played, there is possibly too much of a muchness here, as ten of the twelve songs are in this style. The least successful songs are those where McGraw moves away from his preferred style, such as 'Death Is Not Peace'.
www.richardmcgraw.com
Phil Suggitt

DOM MARIANI
Shell Collection (Off The Hip; CD)
     This collection of rarities and out-takes from 1988-2006 is exactly what you would expect from Perth's prince of prime power-pop. The out-takes and bonus tracks sound just as polished as the material on Dom Mariani's albums. Whilst nothing here quite reaches the sheer class of the best DM3 releases, it's all good stuff. This album will fit nicely with the double 'Popsided Guitar' comp of Mariani's best work with The Stems, Someloves, DM3, Majestic Kelp and more. The vocals and production are, as always, top notch, from the cool tribute album versions of Brian Wilson's 'Caroline No' and The Shoes' 'Too Late' to the driving single releases like 'Pussycat' and 'I Never Thought I'd Find'. Buy with confidence, as they say.
     The only thing that puzzles me is the photo of Mr. Mariani. Spiky Beatle boots would seem way too hot for Perth! Obviously the locals get used to the heat!
www.offthehip.com.au
www.dommariani.com
Phil Suggitt

MASTICA
Bitt In Garage (Teen Sound; CD)
     After my instant reaction to these Italian guys Crusher 45 I was initially a little despondent to this full length CD. Why? I dunno. Maybe I expected more after the fab single -- and the album's a bit too lengthy; the last three early recordings are really not necessary. Still, by the third listen the songs were starting to jump out of the speakers a bit more. 'Lettera Aperta A 'Il Ragno'' is a bona fide dose of heavy progressive rock with some manic 'oomp ah' vocal segments and choppy Deep Purple changes and 'Mi Fai Stare Bene' goes all '70s Who with a nice falsetto call and response vocal. Very stadium! The mood is pretty varied throughout with moves towards boozey R&B, hard garage/rock, psych and later period anglophile mod stuff, but I'm not too sure about the Italian language cover version of 'Space Oddity' or the crisp, clean production. As one of the elder SD scribes commented 'These sound like a third rate band that played at my Youth Club in 1970'. For many, that's a good enough recommendation. And yes, this really does have some fine moments, but it just doesn't kick like the single... still, these hairy Itis are a band to definitely watch out for.
http://crea.html.it/sito/nowsound
thenowsound@iol.it
http://masticarumors.blogspot.com/
Jon 'Mojo' Mills

THE MILKY WAYS
The Milky Ways (Alive: CD)
     When I first played the first track of this album the mix sounded so bad I thought the cat had been fiddling with the balance dials on the CD player again. A few adjustments confirmed that the vocals on 'Shattered' really are meant to sound that way. It amazes me that a band could sit listening to the final mix and say 'Yes, that's exactly how we want our record to sound – a really muddy mix with vocals you can barely hear'.
     This is supposed to be modern garage-punk rock. If so, it has absolutely nothing in common with the original 60's version or the best of the 80's and 90's reincarnations; it's just sludgy downer rock in search of a tune. When the vocals are audible, they are terrible, as on 'Lecherous Parasite' or 'Where's My Baby'. The male vocalists can't sing at all, they just bellow and holler tunelessly. This is music that conveys absolutely no sense of joy. Sorry, guys.
www.aliveenergy.com
Phil Suggitt

THE MIRACLE MEN
They're Coming..(Teen Sound; CD)
     Henri Sulman is a good songwriter with a healthy respect for the garage legends of the 60's. His fellow Miracle Men are an energetic guitar band who sound more modern than their influences suggest.
     The problem with this debut CD is that Henri's voice isn't as strong as some of his songs. Although his voice isn't bad, and really suits some of the songs, it has to be said that on some tunes his voice lacks warmth and has a limited range. The opener, 'Stop Pushing Me' is a case in point. There is plenty of good driving guitar, neat harmonica and a strong tune, but the chorus is crying out for extra backing vocals to add more punch and soul. The best songs are 'Won't You Try' and 'Who, What, Where' because the lead vocal is more considered and backing vocals are prominent. On the other hand, the 'live-in-the-studio' approach isn't effective on tunes like 'Misplaced' and 'World In Danger', which are rather ordinary indie guitar rock. . Everywhere the guitars are economic and exciting, but this is not always enough. At their best The Miracle Men are capable of quality songs which would benefit from a more 'produced' sound.
teensound@iol.it
mistylane@iol.it
Phil Suggitt

THE ONE AND ONLY TYPICALS
Riot In My Head (Sounds Like Vinyl; CD)
     The second album from The One And Only Typicals starts well enough with 'Guided By Choices', but interest quickly wanes over the next few songs because of the ubiquitous stereotypical 'punk-pop' guitar sound. Sadly the band come from the school of US punk-pop that believes that buzzsaw power chord guitars are an essential ingredient of almost every song. If this approach is for you, fine, but all I hear is some reasonable melodic tunes buried by predictable and monotonous guitar parts. I kept hoping that the guitarist might think 'This one would be better with an acoustic and piano', or 'I could try a 12-string here', but it never happens. Songs like 'Around' have catchy choruses, but are hampered by rather inane lyrics and dumb use of the f-word. Individually songs like 'Ghost' and 'Suck It Up' are enjoyable, and suggest a more inventive and melodic direction.
www.theoaots.com
Phil Suggitt

ADAM POWER
What Were Sundays For? (Big Radio; CD)
     Brisbane singer-songwriter Adam Power's tunes are largely melodic, well-crafted and pleasant, with a strong Lennon and McCartney influence. Like a lot of contemporary indie singer-songwriter material, it is hard to take offence at Power's songs, but equally hard to get really worked up about them. Despite contributions and production from Michael Carpenter, Power's tunes lack the 'wow' factor to make them really stand out from the crowd.
www.bigradio.com.au
Phil Suggitt

SPIKE PRIGGEN
The Very Thing You Treasure (Volare; CD)
     This CD was recorded between 1998 and 2000, and released in 2001. As Spike has subsequently released a good album of covers (see August 2005 reviews) I can only presume that this debut CD of original tunes has been re-released.
     The sound of 'The Very Thing You Treasure' is reminiscent of the band Spike used to play bass for, Dumptruck. This is no bad thing, as Dumptruck were one of many unpretentious and accomplished US indie guitar pop bands, championed by Jon Storey and Bucketfull of Brains in the late 80's. On this album Spike mostly plays acoustic guitar and sings, supported by a range of different musicians.
     The first song, 'Every Broken Heart' is a memorable power pop number with big, chiming guitars. The slower, more reflective tunes are also strong, particularly 'She Used To Be My Baby' and 'Outtasight'. The album is something of an electric guitar feast, mostly served up by Jon Graboff. The only tune that doesn't work is 'Alright' which is hindered by the droning guitars.
     In his previous bands Spike used to be the backing vocalist, but he proves he has the songs to step up the front microphone. At times his voice can be slightly nasal, but he understands his limitations and sensibly compensates by adding several layers of backing vocals. There is a really full vocal sound, although Spike is the only singer. A new set of original songs, 'There's No Sound In Flutes' should be due this summer, and, on the basis of this 2001 release, I'm really looking forward to it.
www.spikepriggen.com
Phil Suggitt

THE SICK ROSE
Blastin' Out (Teen Sound; CD)
     Italy's Sick Rose have gone through a few changes since their inception in the 1980's. Originally a significant part of the 80's garage revival scene, I lost interest when they went through a hard rock incarnation in the 90's. Blastin' Out is a big power-pop album, presenting another facet of the band.
     Everywhere the deft touch of producer Dom Mariani is evident. The Australian power-pop maestro contributes extra guitar and backing vocals. Mariani's influence is so strong that some of the songs, like the sprightly opener 'Love Can't Get Enough', sound like he wrote them as well, although he didn't actually get involved in the writing.
     The sound is bright and full, with a beaty rhytrhm section, catchy melodies and powerful guitars. Diego Mese contributes some tasty little riffs, 'Jeanie (Blinded In The Dark)' being a good example.
     Gigi Rivetti's keyboards and backing vocals are as crucial to the overall sound as Mariani's contributions. Both are so important to the record that they deserve to be credited as members of the band!
teensound@iol.it
mistylane@iol.it
Phil Suggitt

THE SNAKES
Songs From the Satellites (Holiday Disaster; CD)
     The Snakes are part of a long tradition of young English boys who fall in love with American musical styles but produce really inspiring music that is way beyond homage. Wiltshire may be a long way from California, but you sure couldn't tell from this record. All ten original songs are brimming with melody, great choruses and excellent singing. Things get off to a great start with the chiming guitars of 'Turn Back the Clock'. Upbeat songs like 'Lil'B' and 'Drag You Down' are really joyous guitar pop with infectious choruses. The music communicates a real joie de vivre. Some of the slower songs, such as 'Eight Ball' and 'Homecoming Day' use pedal steel and violin in a more country/Americana style, but the tunes are just as memorable and the four vocalists ensure the singing is always first class. 'Satellite Town' is a perfect evocation of Gram Parsons at his best. All in all, a great debut – if you loved The Rockingbirds, this is for you.
www.the-snakes.com
Phil Suggitt

SPEAKEASY
The Toe Rag Sessions (Biff!Bang! Pow!; CD single)
     This is a collaboration between five disparate musicians from four different eras of UK Mod history, namely bassist Mike Evans (The Action/Mighty Baby),guitarist Simon Stebbing (The Purple Hearts) drummer Buddy Ascott (The Chords), vocalist Mark Le Gallez (The Risk/Sacred Hearts)and singer/organist Fay Hallam (Makin'Time/Prime Movers/Fay Hallam Trinity). Happily this novel one-off combination is successful. The Biff! Bang! Pow! claim to have locked all five in Toe Rag studios for two days to record three original songs. Mike Evans has done it all. The Action would have bashed out three songs in two hours, Mighty Baby would have sat around for two weeks smoking before recording.
     Fay Hallam's excellent keyboards and vocals really make their presence felt, particularly on her own song, 'Seeds'. Everyone contributes more equally to the other two songs, Stebbing's 'Soul Searching' and LeGallez' 'Love And Understanding', which are both good, driving mod-pop numbers.
www.biffbangpow.org.uk
Phil Suggitt

THE SPECIAL AGENTS
Bulletproof Beat (Hammond Beat; CD)
     Instrumental combos have had a low UK profile in recent years. At one time there seemed to be scores of them, and they all had a record out on Sir Bald Diddley's Alopecia label. Where did they all go? Sheffield's Special Agents have been quietly toiling away for years, with the odd single here, a track on a comp there. This experience has done them good, because their first full length album is easily the best instro album I have heard in years.
     The record label isn't called Hammond Beat for nothing. There are great swathes of organ from Agent Geoff Russell, particularly on 'Our Man On Mars', 'Calling all Agents' and 'Cast Your Spell'. Subtle it ain't, but then, the best instro music isn't subtle, following the rule 'if you've got a good riff or neat lick, play it lots of times; if it's a real killer, push it as high in the mix as you can'.
     The guitar based tunes are no slouches either. 'Shufty' by guitarist Rod Aiken is a wonderful tribute to the John Barry Seven and Vic Flick in particular. Organ and guitar unite to make 'Soul Agent' a reverential nod to past dance floor groovers. Wonderful stuff.
www.hammondbeat.com
www.thespecialagents.co.uk
Phil Suggitt