Monthly Archives: March 2018

Wreckless Eric • Construction Time & Demolition [CD, LP, DD]

“All your records are shit, except maybe one…” So goes one of the lines in a song on the new album from WRECKLESS ERIC, Construction Time & Demolition. If you were around in the late ’70s you might remember a few of Eric’s releases on Stiff Records, home then to names like Elvis Costello, The Damned and Nick Lowe. Or maybe you’ve heard the cover of his biggie “Whole Wide World” (by Cage The Elephant). Eric was an oddball – he sang in a low register squeak that sounded like some weird guy’s speaking voice – and appears to have stayed one. But not all of his records are shit…

His new album is a beautifully ragged semi-lo-fi collection of remembrances of things like his childhood in Hull, England, and how the (whole wide) world seems to have been continually constructing and demolishing itself ever since. The opener, “Gateway to Europe,” tells of his hometown becoming that when a bridge was built that spanned the Humber Estuary and Britain became part of the European Common Market. (Look it up, I’m not a history teacher.) The arrangement of this song, as well as the rest of the eleven songs that make up Construction Time & Demolition, is one that sounds like it’s building up, getting denser and denser, while simultaneously kind of falling apart. Jagged guitars, weird organs and fuzz bass are at home among drums, percussion, and a “horn section” led by a brilliant trumpet blowing whenever some musical bit needs underlining. As Eric himself says, “I wanted the music to sound as though it was demolishing itself as it went along, and at times I wanted to actually hear it destroy itself, fuzz in and out until all that was left was the flat tone of a heart that’s stopped beating.” Well, now. That’s a grand concept and I think Wreckless Eric has achieved it. His lyrics remain wearily wistful in a jaded sort of been-there-done-that way, making canny observations about how getting older isn’t always easy (“life is all the same old lessons / until you learn ’em / And I’ve got so many lessons left to learn, I wish I could burn it all! / I’m coming unraveled here!”).

So how did Wreckless Eric fall off my radar? I mean, I loved his new wave records back then (see the clip below with his magnificent “Whole Wide World”), but he’s kind of come and gone over the last forty years. (I actually got to see him perform in NYC in the early ’90s during a New Music Seminar – met Cheetah Chrome from the Dead Boys at a bar down the street before the show and bought him a beer. Cheetah, not Eric. On my company’s dime.) Wreckless Eric’s had a few albums out in the last decade or so but I guess I just missed them. Meanwhile, he’s now stationed here in the States and has a pretty good thing going with this new record. You can catch him on tour if you live on the East Coast or in Britain. I hope he’s got a full band with him, and one that can deliver the goods and bads that make up Construction Time & Demolition. Meanwhile I’ll be looking into some of the records of his that I missed over the years. My bad.

4/5 (Southern Domestic)

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Madness • Absolutely, 7 [CD]

[Originally published 3/23/2010 on Skratchdisc]

Two more masterly remastered and expanded reissues from MADNESS, and once again, their new parent label Salvo does a fantastic job. Absolutely and 7 were the sophomore and junior (third) efforts from Camden Town’s Nutty Boys, and instead of proving the rule that the second outing is usually nowhere near as good as the first, they disproved it by a landslide. (Quite possibly the worst mixed metaphor I’ve ever committed to paper… Oops, there I go again!)

Absolutely, released in late 1980, featured the singles “Baggy Trousers,” “Embarrassment” (one of my top Madness tunes) and “The Return of the Los Palmas 7,” and continued the band’s chart reign. Bubbly, fun melodies were still to the fore, but beginning to get noticed was the melancholy subject matter. Sure, they didn’t say directly that the girl got knocked up and made her family look bad in “Embarrassment,” but that’s clearly the story. “In the Rain,” a different recording than the one that appeared prior as a B-side (though both are here), also isn’t exactly chipper. Whatever—Madness still had it goin’ on.

In 1981 they released 7, their third longplayer and another successful outing. More big singles here, including “Cardiac Arrest” and “Shut Up” (a lot like “Embarrassment” and another Marsh-certified goodie),  kept Madness in the NME and other papers, and paved the way for eventual US success (“Our House” from the following album). They hadn’t changed the formula yet, and since these two albums followed in such quick succession, nobody seemed to notice. Original label Stiff could barely keep up with these guys, nor could those of us over here who’d already discovered them despite little or no promotion from American label Sire.

Salvo’s treatment of the band’s catalog so far has been great… all the videos are on the corresponding CDs, bonus tracks are in abundance (Absolutely features seven bonus cuts plus a 21-song live show from London), the notes and photos of ephemera are also plentiful, and the mastering is superb. No qualms here at all! Can’t wait to hear and see what they do with The Rise and Fall.

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The Rezillos • Flying Saucer Attack: The Complete Recordings 1977-1979 [CD]

THE REZILLOS – Scotland’s, and maybe the world’s, greatest punk band – recorded only one studio album, a live one, and a few singles in their original incarnation. For years, their records (especially here in the US) were hard as hell to find. In the early ’90s, Sire Records put out a CD compilation that sated those of us who couldn’t find a vinyl copy that wasn’t completely hammered. It featured their studio LP, Can’t Stand The Rezillos, most of the live record (Mission Accomplished… But the Beat Goes On) and a single, but it was missing some waxings that hardcore fans would’ve given their left nuts for. Finally that ball-busting shortcoming is rectified with this 2CD compilation, Flying Saucer Attack: The Complete Recordings 1977-1979. Cherry Red Records to the rescue! With 40 tracks, it’s more Rezillos than any sane person can stand. For me, it’s what I and leagues of fans have been waiting for.

What you get with The Rezillos is a “punk” band – that is, a band that played their songs fast and loud, without any synthesizers, lasers or other late ’70s gizmos, but sang about flying saucers, mothers who say NO! “because you’re not old enough” and girls who do good sculptures. Fronted by a guy/girl duo on vocals (Eugene Reynolds and Fay Fife) and guitared by one Jo Callis, the band also featured bassists William Mysterious, Simon Templar and D.K. Smythe (not all at once), drummer Angel Paterson and backing vocalist Gale Warning. Sire Records from America signed them after they’d issued their first single (“I Can’t Stand My Baby”) and put out another single and an album, followed by a couple more singles and a live record. The Rezillos charted in the UK but didn’t cause any harm to the US charts and after some inter-band issues they called it quits. Two different factions went on as The Revillos and Shake, but those didn’t last long, either. And that, in a nutshell, is the trajectory of the original band.

The Rezillos have always managed to stay off of those dreaded greatest punk bands lists for no other reason, I suppose, than they did fun songs about nothing at all important. There was no current cause or fashion to attach them to; instead, the band wore kooky, semi-sci-fi outfits and seemed to actually be enjoying what they were doing. You can’t usually say that about The Clash, Buzzcocks, Sex Pistols or even The Damned. Plus they did so many Sixties covers, you could almost overlook their great originals. For covers, how about “Glad All Over” (Dave Clark Five), “I Like It” (Gerry & The Pacemakers), and the king of ’em all, Earl Vince & The Valliants aka Fleetwood Mac’s “Somebody’s Gonna Get Their Head Kicked In Tonite.” What a record! Why they didn’t put this out as a single, I got no idea. Speaking of singles, the 45 rpm versions of their own swell tunes “Good Sculptures” and “Top of the Pops” lack the energy of the LP versions, which is also a big question mark to me. Why didn’t the record company go with the superior versions on the album? Got no idea.

Cherry Red’s new 2CD extravaganza brings you the studio album and all of those singles on disc one, with the live album, further live tracks and some alternate, unreleased versions of a pair of tracks on disc two. The mastering job keeps the concentration on the high end, though the kinetic bass of Mr. Mysterious still comes through like it ought to. For the live album, I see from various internet groups that there is a snippet of “Thunderbirds Are Go” missing (apparently, from the actual movie), but otherwise it appears to be intact in all of its low cost mobile truck glory. The artwork by Keith Davey is pretty groovy, too, and a perfect fit to the contents of the digipack cover. In all, Flying Saucer Attack is so close to perfect I can hardly stand it.

4.99/5 (Cherry Red WCDBRED705, 2018)

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NRBQ • NRBQ [CD, LP]

Omnivore put out an epic five disc box set last year, trying to somehow encapsulate the fifty year history of NRBQ. There was no way for the label to summarize just what makes this band so amazing in a mere five CDs, so they’re forgiven for missing a mark that really no one could hit. The fact that they even tried earns them major kudos. This time around they’ve reissued the band’s first album, NRBQ. Released in 1969, this record introduced to rock fans the wide world of the New Rhythm & Blues Quintet, a band name that also tried to encapsulate just what these guys were all about. It’s a wonder that Columbia Records signed these guys and put out a few records by them in the first place. Because you can’t pigeonhole NRBQ. They’re primarily a rock band, sure, but where do they stand in that strata? Hard rock? No. Country rock? A little. Jazz? Well, how many rock bands have covered Sun Ra (besides MC5)? Rockabilly? Sometimes. A mixture of all of those sub genres and more – that’s what NRBQ does. Imagine what a tough job the marketing department had trying to figure out who to sell this record to!

On NRBQ, the band – fronted by vocalist Frank Gadler, Steve Ferguson on guitar/ vocals and Terry Adams on keyboards/ vocals – demonstrates much of what made them so amazing. From covers of Eddie Cochran (“C’mon Everybody”) and Bruce Channel (“Hey! Baby”) to their hard rockin’ take of the aforementioned Sun Ra’s “Rocket Number 9,” to their own slightly countryish tunes like “Kentucky Slop Song” and the MOR-y “You Can’t Hide,” plus a neat little traditional ditty called “Liza Jane” that induces someone’s hound dog to bark along with it – phew! – the genres and influences on this record make it a hard sell on paper. So you gotta put this motherfucker on and let it do its thing! It comes down to this: you either get NRBQ, or you don’t. That’s been the problem since day one, because if you say that to the Q virgin you’re gonna sound like an asshole. But it’s the truth. And you don’t wanna be called a liar, do you?

Judging from the pre-release digital download, and comparing that to my ’80s vinyl pressing, Omnivore’s done a great job with NRBQ. They’ve expanded the cover to a gatefold, added some historical photos, and likely created new liner notes. (The original release’s back cover is nothing but liner notes, and they’re very much of the era in their language and longwindedness.) Considering the album’s never been out on CD, this reissue is important to longstanding NRBQ fans. For those who haven’t gotten into them yet, well, why not start here? You could try the box set or the one disc highlights release, or grab one of the other compilations that can be found on the internet, but don’t (yet). Just get this and give it a shot. You may just find you get it. If you don’t, then wait a few years and try again. Maybe by then Omnivore will have put out NRBQ’s second album, the one they did with Carl Fucking Perkins!

3.5/5 (Omnivore, 2018)

 

 

 

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