Sunday, 6 December 2020

The Broken Jug - William (Glitterhouse Records 1986) + Grand Junction EP (Glitterhouse Records 1985)

Legendary sixties garage band from Bamberg, Germany. They were even positively reviewed by Diedrich Diederichsen (legendary german music journalist of the 80s) and appear in one of his books. Founded in 1984 and released the two albums "William" and "Burning Down The Neighborhood" on Glitterhouse Records in addition to various singles. All in the style of The Stooges, MC5 or Radio Birdman.    -Source


...Their first EP, Grand Junction, is an instant classic of uninhibited garage. Recorded on a four-track machine in their rehearsal rooom, it bursts with energy and verve. The Jug’s sound mixes the mystery of The Doors’ organ with the directness of 60’s punk: simple, clear and gutty. 
Their first LP, William, treads the same territory, yet with a tighter, more professional sound. It’s very distinctive and somehow innately German, yet highly identifiable by American genre standards…    -Timothy Gassen 

Broken Jug - William (Glitterhouse Records 1986) FLAC   320
Grand Junction EP

From one of the leaders of 80`s garage-psych revival in Germany. Among the first releases of Glitterhouse records. Fresh (old) sound and genuine (imitated) atmosphere. Had come for making just some primitive electric noise, but later they decided to burn down the whole neighborhood.

The Broken Jug - Grand Junction EP (Glitterhouse Records 1985) FLAC    320

Tuesday, 1 December 2020

Pussycat And The Dirty Johnsons - Exercise Your Demons (Johnson Family 2010)



These Basingstoke based punk 'n' rollers have built themselves quite a reputation on the London live scene, not least because of vocalist / guitarist Pussycat's flamboyant persona that's part cat woman, part Ivy Rorschach. The Dirty Johnsons mix punk, blues and garage with nods to The Stooges and The Cramps and a bit of atmospheric Theremin for that b-movie feel. There's a rich vein of humour in 'Orgasmic Pizza' and 'Daddy Long Legs' without detracting from seriously raucous rock 'n' roll. Fans of Devilish Presley and The Creepshow will find plenty to like on this album.     -Vive Le Rock


Making rather a noise for themselves on the London bar scene the last   6 months or so (trust me – if you’ve seen them, you won’t forget them), Pussycat and Co. have done a damn good job translating some of the punkabilly onstage chaos for you the lucky listener at home. 
Opening with the infectious strutting riff of Trouble With The Devil, this album is a winner from the start. With a band that is such a formidable live force, it is a bit of a concern as to how well that would translate on record, but the songs are strong enough and just so much fun that they carry themselves easily from stage to stereo. And as an added bonus, studio production really showcases what a powerful and directed voice Pussycat really has.
As well as great hard-rocking fun, the sense of humour on this record really grabs you, but without it at any point becoming novelty or comedy. You really have to listen to a song like Orgasmic Pizza yourselves to understand how a girl can sing about hot pepperoni and getting greasy mess on her face without being just ridiculous, but I can tell you that Daddy Long Legs or Bad Cat are just great party tunes, even if they are about spiders and the singer being a feral cat-woman with a bad attitude respectively.
Nothing can replace seeing the onstage mania of a Pussycat live show, but this record is definitely the closest you’ll get, and has a few tricks of its own up its sleeve into the bargain.    -Source

I saw this band live a week ago and was blown away by them. I hadn't heard their album before I saw them, but it showcases their music to date. Pussycat has a fantastic voice - which is exactly the same when she sings live - a great big voice from such a tiny frame! I highly recommend this album and if you get a chance to see them live you MUST GO!!! Their 'punk rock 'n' roll' music has slight elements of The Cramps and The Stooges and when playing live there was a mixture of Punks, Rockabillies and others among the crowd. I can't rate this band highly enough! Top marks all around!    -Psycho
Pussycat And The Dirty Johnsons - Exercise Your Demons (Johnson Family 2010) FLAC    320

Thursday, 26 November 2020

The Scumbugs - Bugging Out With... The Scumbugs (Screaming Apple Records 2015)

Screaming Apple Records release another absolute monster GaragePunk Scorcher.  Let's FACE it, you could get hit by a BUS tomorrow! Don't be a total dipshit and miss out on all the funtastic joy and exitement that all the other kids are getting from this great Long Player.


These five, fly-faced primates hail from a dirty basement smack in the middle of Bergen, Norway. And they only have one agenda: make you stop, stare, stomp your feet, spill your beer and leave you with a permanent buzz ringing in your ear. The Scumbugs play straight forward fuzz and organ driven garagepunk, spiced up with some wailing harmonica and demented lyrics. Top that off with a bucket of earworm hooks designed to stick in your brain and destroy your frontal lobe. Cause this is primitive instinct rock and roll, catchy and infectious.

Based on pure passion, joy and aggression with no room whatsoever for intellectual stimulation. These flies have been on the wall of all the "BACK FROM THE GRAVE" and "TEENAGE SHUTDOWN" recordings, sucking it all up to spew out their own brand in 2015. If you imagine THE MIRACLE WORKERS and THE BRANDED both in a fight with THE MUMMIES! Or THE SONICS drunk on strychnine going wild wild wild in the bed with LES SEXAREENOS. That's a pointer towards their sound.

"Bugging out with…" is their first longplayer, presenting 12 homemade nuggets reeking of the budget rock, no hit protopunk and raunchy r’n’b that the band was born and bred on. This is a platter for the permanent party, a band only a motherf****r could love. 
So don’t cheat yourself by missing out on this must have for the wild and outrageous music lover.  Prehistoric sounds from the caves of Norway. Yabba Dabba Dooh!

The  Scumbugs - Bugging Out With... The Scumbugs (Screaming Apple Records 2015) FLAC    320

Sunday, 1 November 2020

Fury 161 - Los Reyes De La Carretera (Tear It Up Records 2005) + Talk Of The Town (Tear It Up Records 2007)


Frank D. : You hear it all the time: "The only bands that play good old fashioned rock'n roll are from Sweden and Norway nowadays.” But now, we have a Dutch answer! The name of this post punk monster is Fury 161, also known as the galloping consumption with (ex)-members of 7Zuma7, the Apemen, 69 Charger and the Madd. 
With a vigorous sixties garage punk sound which brings back memories of greats like The Pretty Things, Thirteenth Floor Elevators and The Sonics the band races through the seven tracks on the MCD 'Los Reyes De La Carretera'. Whether it is due the background vocals during 'Playing Tricks', the organ of Don Derdag or the typical vocals of Don De La Tourette stays unclear, but the picture of a band that declares war on the "Happy Days” music in a garage in a sleepy suburb in 1966's Dallas pops into mind and is there to stay. Fury 161 sounds authentic, but original at the same time. Tracks as 'Git Some' + 'Bad Boy Boogie' prove that sounding old fashioned doesn't have to be a negative thing...
In conclusion, Rotterdam based Fury 161 comes up with a catchy record, which is going to frequent my CD player a lot this summer.    -Source

They boiled up from the sewers of Rotterdam in 2000. Inspired by the likes of: Sparkles , Monks , Standells and other giants of the 60’s garage era, they soon found their own garage to start bumping and grinding. 
This resulted in a 4 track 7inch released in 2001 the “Allstar Wrestling Matches”, which got good reviews worldwide.  
After this fine piece of work they we’re joined by the mighty Don Juan Peyote, who completed the band and made things a little smoother. This resulted in more gigs with the likes of: Zeke/Nomads/Hard Feelings. Soon after this Don Larvey K-tel (vocals) called it a day. The mighty fury had a big tour coming up so they decided to let Don De La Tourette take over vocals & Don Druff grabbed the bass (everybody still following?) 
They premiered in this line up on the “Revenge Of The Rock’n Roll Monsters” tour starring: Peter Pan Speedrock, Apers , Spades & El Guapo Stuntteam, which turned out to be a big success. 
After that they started working on new songs which resulted in “Los Reyes De La Carretera” (7 tracks of the best soulstompin’ garagepunk that ever came from the lowlands). Restored to a 5 piece outfit (Don Perignon has joined the ranks) they are now ready to bring this mayhem upon you.    -Source

Fury 161 - Los Reyes De La Carretera (Tear It Up Records 2005) FLAC    320

I couldn't find any reviews for this album, but you can be shure, it's as good as "Los Reyes De La Carretera". In my humble opinion it's even better. Here are a few songs to listen to ... then decide for yourself ... and last but not least I really want to mention this incredibly great cover artwork by Mitch O'Connell.

Fury 161 - Talk Of The Town (Tear It Up Records 2007) FLAC    320

Monday, 26 October 2020

The Breadmakers - Cool! (Corduroy Records 1996)



Timothy Gassen describes the sound of the Breadmakers as "mid-60s styled white R&B, heavily influenced by the British R&B scene of The Downliners Sect and Pretty Things. The sixpiece plays it pretty purist and straight, with some tasty harmonica and piano adding spark and flavor."
Melbourne, AU based "The Breadmakers" are playin' their Sloppy Swamp Pop since 1989.
Hoodoo White (Davern White, ex-Bo-Weevils) is on guitar and vocals, Lazy Dik (Richard Whelan) on Vocals, Harmonica & Maracas, Homesick Gordon playin lead guitar, Cadillac Slim (Nicholas Phillips, ex-The Puritans) is on bass while Bootpolish Lacey (Scott Lacey, another ex-The Puritans) plays drums. Smokey Shephard is on Piano and. Organ.  
First two LP’s Hoodoo Nightspot and Twelve More Miles To Midnight (later reissued as ... single CD) are followed by The Night The Moon Forgot To Rise. After Cool!, their last effort was sort of swamp rock opera The Case Of The Smouldering Redhead in 1998, all for Corduroy Records. A slightly changed line-up is back with the live set Night Of The Cobra in 2008, and they're still rockin'.    -BuckSooz

"Breadmakers were the house band of Corduroy, when Corduroy existed. Band and label were creatures of Nicky Shutdown, as well as the Puritans, Driveaway Service and Shutdown '66, all monsters freed from Nick's imagination to give vent to his love for the racy sound of the sixties. A love that must never be completely passed, if on the threshold of old age the good Nick decides that it is time to reform the band.... Franco "Lys" Dimauro
....but their newest incredible effort is not supposed to be our topic today and these words are only for additional information. 
Today the 4th album "Cool!" shall be brought to your ears. In 2005 the website of Corduroy offered the now 24 years old excellent piece of work with the following words:
"An absolutely swingin', cocktail shakin' masterpiece from the Breadmakers. Lots of hip new & original tunes about martinis, highways, voodoo and tequila, all recorded  in their favourite 1959 mono studio."
That's all I could find about this album on the net and in my archives.

The Breadmakers - Cool! (Corduroy Records 1996) FLAC    320

LP-version with 8 Bonus-Trax in VBR     ....Thanx so much, Mr. Eliminator


Tuesday, 20 October 2020

Thee Windom Earles - Mai Tai Pink Eye (Earlesworld Rec Co. 2019)

It's been a long time since this album was released (February 2019) and no one told me about it .... but now that I've stumbled across it, I feel the need to recommend this "10 out of 10 points" album to YOU (just in case you doesn't discovered it yourself before). As usual I leave the talking about it to other, more eloquent people. Big big thanks to them.

Have the Windom Earles crafted a genre all to themselves? The 5-piece surf punk outfit from Manchester, UK have released an album fueled with fuzz, punk and chaotic rockabilly. Call it Fuzzabilly or what ever, this album is an absolute entertaining piece of work. Mai Tai Pink Eye shines from beginning to end with it’s fuzz-laced rockabilly. Thee Windom Earles take influences from bands like The Cramps and Amazing Royal Crowns and toss in some punk distortion along with stoner rock energy. Now this may sound disorganized, but it works. The band throw a ton of punkish attitude into the album while sticking to their rockabilly roots. The icing on the cake may be the lead vocals who reminds us of an odd blend of David Yow, Lux Interior and a bit of Glen Danzig from his Misfits days. The bottom line is this album crosses into so many rock genres it’s ridiculous. Fans who love stoner to hard rock and puck to hardcore will find it hard not to get into this album.   -Source

This video was recorded live for broadcast at Thee Earles Cave on Wednesday 20th of August 2020. See your favourite greasy hotdogs blast through a half hour of foot stompin', wig flippin, garbage fire rock & roll.

      A review by Olivia C. from her brilliant blog "Beat In My Bones.":         If you’re looking for something extra creepy & extra trashy- then you’ve GOT to listen to Manchester’s finest Thee Windom Earles. They are a fascinating band that make you feel like you’ve stepped into some weird Horror B-Movie. They are off the wall, in your face and just brilliant. Think along the lines of Captain Beefheart and The Cramps, then you’ll get it.

Where do you begin with a band like this? I know nothing about them, all I know is that they are from the greatest city in the world (Manchester) and they make the kind of music that would even move us fellow introverts. They’ve got a really cool style, and this Psychobilly sound is just exceptional. You cannot help but move when you listen to them, and you cannot help but play their music super loud.

Their debut record, Mai Tai Pink Eye came out in February this year. I know, I’m late with this one. But it’s such a great record. You don’t feel like you’re listening to a band from 2019. There is something nostalgic about this record- they’ve got every essence of The Cramps, but they don’t do it in a rip-off style at all. They take this creepy Rock ‘n’ Roll sound and make it theirs. If The Cramps came from Manchester, they’d probably sound like this. Songs like Sex Pizzeria are MADE to be played super loud and Oom Sha Cha too. Just play the whole record loud at least 5 times a day. You’ll feel better for it.

Mai Tai Pink Eye is not only probably the best name for a record you’ll hear this year, but it’s also got a such a tight sound. The production is flawless, and the sound is beautifully unruly. It is the best form of chaos possible- it’s basically a band making a lot of noise and having a great time doing so. I’m having a great time listening to it! It is such a thrilling record. Bands like Thee Windom Earles and Night Shades who are making their own style of Rock ‘n’ Roll right now; I’d love to see both play a show together. It would be insane. To hear a sound so refreshing on this record just makes you fall in love with music over and over again. Songs like Lunchtime Munchtime and Freight Elevator are just these incredible pieces of real Rock music. There’s the Garage Rock thrown in, there’s the effortlessly cool and weird style that lures you in. The vocals are delivered with this infectious energy that is happening throughout the whole record. I cannot praise this monster of a record enough! You cannot help but play every single song to death. It’s only 9 tracks long, but those tracks are enough to have you hooked in every single way. You’ll be having dreams about this record.


Lick The Flipper has this awesome Surf Rock feel to it, but it also has something a little eerie/sinister about it. I just love how the band mess with your head. The only thing that’s consistent is how brilliant they are- everything else is a pleasant surprise. You just have no idea how the next song is going to hit you. I think this is the song I’m obsessed with the most (for now) it’s definitely a stand-out song on this record, but truth be told, the whole record is an underrated masterpiece. Manchester is truly home to some amazing musicians and bands- Thee Windom Earles absolutely back this notion up for sure.

When you listen to this record you cannot help but let it take over your soul. You feel like it has corrupted you in the best way, and all good music makes you feel this way somehow. Imagine being about 14/15 years old, and finding a band like Thee Windom Earles and just letting this sound blow your mind, and you end up starting your own band? That’d be so cool. Instead, as a 32 year old, I’m just in awe of the band and I’m so glad they exist. I’m so glad I found them. Just when I think I couldn’t love this city even more, something like this happens! I think it is safe to say that Mai Tai Pink Eye is probably the year’s most underrated record. It’s got everything you could possibly want from a pure Rock ‘n’ Roll record.


Friday, 16 October 2020

The Booby Traps - Be My Caveman (9 Tr. CD-Single, Off The Hip 2007)

The Booby Traps are influenced by the raw fuzz sounds of garage bands from the 60's & melodies & arrangments from the girl groups of the same era. Also throw in a bit of grit & swagger from all the great R'n'B artists from the 50's/60's. The Booby Traps are united in their passion for all things primitive and swingin! The Booby Traps have had the pleasure of sharing the stage with The Hoodoo Gurus, The Stems, The Johnnys, The Detroit Cobras, The Persian Rugs, 5,6,7,8's, Intercontinental Playboys, Dolly Rocker Movement, The Groovie Ghoulies....and many more. 
The release of their CD "Be My Caveman" saw the Booby Traps fan base explode! A second pressing was rapidly produced after selling out their original 500 copies within a few months! The 4-track studio recording, with 5 live bonus tracks, encapsulated their raw, garage punk rock sound, a mere entrée to what was yet to come! 
Their full-length album has just been released in 2006. 13 new recordings, keeping true to their 60's punk roots and having switched up a gear, thrown out the manual and burnt up the track to produce a main course of fuzz-laden dance-floor stompers. Punters need not order dessert. 

Since The Booby Traps started in 2003 the reviews of their shows have always been favourable, highlighting the unique sounds that they have showcased to the Sydney public. Here are a few excerpts from some of these reviews Sneering Shangri-las inspired girl-group, meets the fuzz monsters from the garage. Primevil & raw, with a lead singer thats equal parts Gerry Roslie (of Sonics fame) & wild cat hillbilly. Go see 'em, they're great to watch. You'll dance & shake, youll be revived.                            The Booby Traps would have to be the hardest working garage band currently playing the Sydney circuit. They're great at what they do and that whole accelerator-down, chicks-with-flick knives feel that their music has, is pretty special. A Booby Traps show is always an enjoyable one. Plenty of sixties garage comin at you. Screaming, nasty vocals, warm fuzzy guitar that takes me to a time when Boss Hoss and Skinny Minny let the good times roll. Sweet melodies and drumbeats that come from the heart of all things garage. The Booby Traps were rockin and rollin and the only thing the crowd were left with were extremely sore feet. Mod escapees from a Russ Meyer flick!   -Source

The Booby Traps - Be My Caveman (9 Tr. CD-Single, Off The Hip 2007)  FLAC    320

Sunday, 11 October 2020

Phantom Jets - The Phantom Jets Play The ''Phantom Jet Set'' (Vinyl, Screaming Apple Records 2008)

Lookout! cuzz headin' your way in rev-o-phonic sound--it's the Phantom Jets! They're all new, and they're what are happening now in the Capital City. Coming at you with a style of beat music borrowing from the wyldest groups of the 60's, but also incorporating the hi-energy styles of today, the Phantom Jets play songs reverberating with the sounds of minor-key 60's garage pop, fuzzed-out punkers, and a bit of reverb-drenched spooky surf thrown into the mix.                                                           They are a group with a single get people's feet moving with rockin' sounds! Furthermore, they're out to prove that you don't need amps with 19 rectifiers, or a drum kit with 20 pieces, and that 2-3 minute songs can get the job done just as well as any.....and that time spent perfecting a song is time that could be better used learning a new one...No need to keep your eyes and ears peeled for the Phantom Jets, they guarantee you'll hear them a-coming!   -Source

Germany's fabulistic Screaming Apple Records present for your delectation ''The Phantom Jets''... a Sacramento, CA quartet comprising of John, Frank, Ted and Farfisa-squealer Sarah. If hip-swingin', surf-centred, garage teen-beat party punk is the thing that readily floats your boat, then you may soon be under the Jets' spell.                                 The emphasis is on loudmouth, Jagger-by-Prevost-style hand-on-hip snotty vocals, dual-packed with reverberating twangs and speed-fueled rhythmic exhortations to frug the night away like there be no tomorrow. And who knows with these cats them it wouldn't matter where you be… the supermarket, dentist's chair, school dining room or better still the parking lot of the local fleapit drive-in where the kids smoke‘n twist while schlock horror flicks play on a constant loop.                        But you always have to watch your back for deadbeat monsters and teenage zombie-head losers who lurk in every doorway and around every dark corner followed by unambiguous trilby-attired spies all of whom are out to do you no good, or at the very least steal your date right out from under your nose... perhaps they'll then do unspeakable things. Whoooo-haaa, file under sped-up cartoon garage punk fun.                -Lenny Helsing (Review from "Lost in Tyme issue #5)


Phantom Jets - The Phantom Jets Play The ''Phantom Jet Set'' (Vinyl, Screaming Apple Records 2008) FLAC    320


Tuesday, 29 September 2020

Firebirds - Firebirds (My First Sonny Weismuller Recordings 2000)

The Firebirds, as “good old garage rockers from Groningen” they describe themselves on their FB-site, originated in 1991 from the Five Fantastic Firebirds with the guitarists Albert Jan Scheper and Hans Dallinga, but only Hans remained until today.

The band plays covers of obscure bands from the heydays of rock-&roll in the early sixties, instrumental material from the Ventures or Davie Allan, but also songs by the Kinks, the difference...the Firebirds play the songs much rawer and faster than the original versions. For years, the Firebirds entertained their fans perfectly in clubs with this awesome mix of wild rock'n roll and dirty surf instrumentals. In 2000 they released their selftitled debut album on “My First Sonny Weismuller Recordings”.         16 tracks (incl. 5 bonus tracks) that come in the same way. The Firebirds master the authentic rock 'n' roll sound like the best. Full of fire the guitars scream through the elementary sixties sound. Nothing but homage.

Hans Dallinga - Guitar
Titus Smid - Bass Guitar
Arnold Veenkamp - Drums
Gerhard Rinsma - Guitar
André Dodde - Organ

Firebirds - Firebirds (My First Sonny Weismuller Recordings 2000) FLAC    320


Friday, 4 September 2020

The Riots - Love After (Sound Camera Records 2004)

Oh, there have been many punk bands named The Riots, but these hepcats are squarely in the 1966 garage, courtesy of Freddy Fortune’s excellent Sound Camera Records. Freddy produced the 2005 "Love After" long-player. It’s full of pop-tinged mod-garage fun, highlighted by spirited organ and energetic vocals. The Riots must’ve been a wailing good time at a house party – they sound like a party waiting to happen. Pick Hits: "Broken Man" and "Hold On Me".     -Timothy Gassen (“The Knights Of Fuzz”)

                                                  Broken Man

Originally edited in “Mono”, now in version “Stereo”, reedition of a treasure, of this fabulous garage band, husband-and-wife, Ryan and Casey Dawson, did in Love After a mix of soul, garage and swinging, and if you have a Vespa, now it doesn’t lack you anything to celebrate the return to the mod/swing of the 60´s.    -Francisco Ratb

                                                    Move Me

The Riots are a four member band from USA and this is their brillant debut album on Freddy's Fortune label Sound Camera Records. Their music has many different sounds from 60's pop, mod, soul, r'nb, surf. The recordings were made at Freddy's house. It is one of the best albums that I've listened the last years, full of 60's authenticity. Great songs like the opening "Hold on me" the organ driven "Wasting my time" and "Move on me" and of course the hip shakin "Broken Man" that you can listen in the zine’s cd will make you jump and dance. The album closes with a fantas-tic psychedelic song "Tomorrow" with electric sitar, bongos and nice vocals. Don't miss this album for any reason!!!!    -Periklis Mihos (Lost In Tyme-Fanzine Issue #3)

The Riots - Love After (Sound Camera Records 2004) FLAC    320


Thursday, 27 August 2020

Los Villanos De Boraville - Haciéndolo En La Boraway (Velvet Cave Records ‎2008)

Bio  (by Israel “Indy Tumbita” Ruiz)                                                          

For several years I  lived in the city of Pontevedra while studying Fine Arts. During this time I met Juan Leiva (Guly) and together we decided to start a garage band which we called “Los Villanos de Boraville”. It was 2005 and the city of Lérez did not know what was coming. One month after the first rehearsal we recorded our first demo titled “Alligator Wine”. Soon we consolidated both the line-up (Arthur Morgan joined on bass and Alberto “Six Fingers” on Farfisa) and the sound, starting to work on what would be our second demo: “La Noche del Cazador”. In these two demos you can perfectly perceive our taste for the Garage Rock of bands like The Sonics, Grass Roots, Los Negativos, The Fuzztones, Miracle Workers, Link Wray...

In April 2008, we released our first CD " Haciéndolo En La Boraway" (Velvet Cave Records) from which two songs were extracted for the compilation "The 6th Generation Nation Vol.1" by Velvet Cave Records, another for volume 2 of the same compilation and two for the compilation Megaton Yeye Vol.11 (Bonvivant Records).

In the summer of 2009 we recorded our second LP. "Coolio Weeckendo: Acción, Psychosis y Rock and Roll" which never saw the light, although some songs can be listened on our bandcamp site. The cover of this second work was commissioned by my friend, the graphic artist, Nieves Prado.    -Source                                                   

Los Villanos de Boraville is the side project set up by Israel on the fringes of the Tumbitas. A 60's garage band with organ in a Miracle Workers / Long Ryders vein with some surf parts (“Impala”) and a good half of the songs are sung in Spanish (not immediately obvious, but there is at least one great success, ”El Sabado Adios”, and long live the gloomy sundays).

We will also remember the first track "The Haunted House" from this album “Haciéndolo En La Boraway”, which is reminiscent of the Chesterfield Kings “Stop!” era.    -Source

Los Villanos De Boraville - Haciéndolo En La Boraway (Velvet Cave Records ‎2008)  FLAC    320


Friday, 14 August 2020

Jonny Chan And The New Dynasty 6 - I Hate You Baby! (2CD Sound Camera Records 2009)

"I Hate You Baby!" is an album that perfectly defines Jonny Chan's creative period, first with The Covingtons, whose best-known song gives title to this record. Born in Detroit Jonny Chan started his garage punk wanderings in the 80s, but it was when he moved to New York that he founded the New Dynasty 6. In 1998 they published on Dionysus Records their debut "So ... You Want Action" and after ten years they return with this album, "I Hate You Baby!"... a double album divided into “Nine pieces”, an excavation of all existing works, edited, unedited, acoustic, demos, TV Shows and a special live edition on Joe Belock's WFMU radio show "Three Chord Monte". 

Speaking about the songs of Jonny Chan is to mix entertainment with pure pleasure, the "jangling" of the "garage" rock with the sounds from the "British Invasion" are a constant presence, in songs like “Hook, Line & Sinker”, "I Say Yeah!”, Gimme A Kiss" and "See My Way", but talk like that about so few songs is even more reducing, because the revelations, the games of hidden music, background music are so important that this record, least because everything in it has a beginning, middle and end, is essential, requiring us to several hearings. Absolutely fantastic.    -Francisco Ribeiro
After a decade of delays, the second Jonny Chan & The New Dynasty 6 album has finally lifted off the runway. It could be said that “I Hate You Baby” was a decade in the making or a decade overdue. Whatever your perspective, Sound Camera Records has ventured over the coiled barbwire and rescued this previously unreleased treasure from the dust yards of no availability. The reconditioned album, lovingly renovated by Sound Camera Records as a bonus tracks galore 2CD edition, is ready to land under the glow and into the stereos of the 60s garage world. 

Some may recall Jonny Chan & the New Dynasty Six made a major dent in 1998 with their debut album “So You Want Action” featuring “Little Black Egg” lyrically rendered in Mandarin Chinese. Others might remember their extensive interview atop an ambulance in Flipside Magazine. Still others might think back to their live shows and festival appearances (e.g., Fuzzfest ’97 in Atlanta and L.A.’s Dionysus Demolition Derby) where they opened up the sense of anything could happen and many times frequently did. In fact, during their "It's All About Me" finale, an amusement park character walked into Detroit’s Magic Stick (a venue loft above a bowling alley). It was a surreal and perfect jolt for a stripped-down garage festival called Gutterfest held during Indian Summer ‘98. So what happened in these intervening 11 years besides the usual compounding conflictions of work, school life, egos and musical differences? I will refer you to the CD booklet for both sordid details and brushes with fame. The music will be the main focus here.

You may be thinking, “This sounds like any garage band that managed to play a live set on WFMU, shake some NYC action at Manitoba's Bar and release a record on Dionysus or SFTRI.” Yes, the band was guilty of crash landing at any moment, being comprised of shifting and incongruent lineups while sending out infrequent communiqués over intermittent cut-rate websites. In this turbulence, lies the genius of Jonny Chan & the New Dynasty 6. They could sound so sharply focused and other times spinning out of control--and out of their heads. In the end, Jonny Chan is kind of like art or life itself—sometimes there’s understanding or momentum, but most other times something entirely else it transpiring. This is the soundtrack to both the clarity and chaos.

The instrumental “Hook, Line & Sinker” sets the album off in true go-go motion before setting stage for the downbeat and folked-up “I Say Yeah” featuring a soaring Rickenbacker solo that recalls the Optic Nerve and the Nightcrawlers at their finest. On "It's All About Me,” the band reaches its summit with the song’s perfect arrangement, shifting dynamics and musical execution. The first time I heard the flowery strums of the intro at the aforementioned Gutterfest show, I thought they were going to cover The Monkees’ “The Day We Fell in Love” which would not only be heretical, but truly dangerous to play in rough & tumble 1998 Detroit. Everything comes together for them in this instantly connecting and signature song touched by the divine spark. Next, “See My Way” surges things forward and displays their Kinksian side. (JC & ND6 belted out a charged up cover of the Kinks' "I'm Not Like Everybody Else." at the same Gutterfest show.) The song is also a perfect vehicle for Chan’s rush hour vocals conveying a native Detroit gunk accent clashing and converging with a transplanted snotty New York one. Chan’s vocals end up veering somewhere between John Felice of the Real Kids and the garage-pop sensibilities of Robert Wojz (of the Insomniacs). While this might not sound appealing under monitor glass, the voice is captivating, distinctive and a perfect fit for either a heartfelt ballad or a fast fuzz-filled ride.

The overflow reservoir department brims with an alternate and superior take of “This is the Place” overlaid with the more congruent vocals by Jonny vs. Wayne’s huskier straining lead vocals heard on the proper album. As every good architect has a trail of bad projects behind them there are a few throwaway pedestrian numbers (e.g. “Fatty Fatty Two by Four”) which were understandably sent to the impound. The real revelation is the pristine folk-rocker “I Want What I Can’t Have” which rates up with “Time Has Gone” from their debut album. One can only surmise sounding too much like Manfred Mann’s “Pretty Flamingo” layered with a veneer of “Norwegian Wood” disqualified this minor-key magnificence. While it may seem surprising this discerning Mr. Chan, who knows his Knaves from his Saturday Children, would have a Manfred Man blind spot, the head honcho of Sound Camera Records testified in Oakland County Circuit Court of no chicanery and Mr. Chan was truly unfamiliar with # 1UK hit from 1966. Flagrant rip off or not, this song is immaculate folk ‘n’ roll with an undercurrent of raga echoing in the distance. JC & ND6 always seemed attuned and aligned to regal feel and look of the Chicago ‘60s bands—from the Dunwich label in particular. This is testified in their glorious cover of “A Girl as Sweet at You” from their debut and the acoustic version of the Knaves’ “Your Stuff” which rounds out disc one. It’s not every decade that you hear a band covering the Knaves. Disc two features the Mosier Safe Sessions with its very apt echo making these rehearsals a Mondo Mid-sixties blow out. Also included on disc two, is a solid and satisfying WFMU set (15.5 songs from Joe Belock's Three Chord Monte program) from the dawn of this decade.

While coulda, woulda, shoulda surround the legend of Jonny Chan and the New Dynasty 6, these are only shadows contrasting with the moments of brilliance. With the perspective of time, Chan has come to terms with the missed opportunities, “It was 2000, Garage was hotter than it had ever been and we did everything wrong, we blew it big time. Nobody was willing to do what was needed to be done including myself.” Even if the band was able to ride the momentum, make an appearance on the Sopranos, play at the Randall's Island Donut Festival and release a glossy record on Wicked Cool, this path would have belied the unraveling energy of band lead by the unorthodox and unbounded spirit of Jonny Chan. Conversely, if the band was able to sidestep the fallows and minefields, they maybe could have achieved a string of releases and international festival appearances placing them in the upper echelons of the garage world. Nevertheless, this recovered bounty of previously unreleased recordings emanates with Chan’s considerable talents and vast capacities in commanding musical order while simultaneously dishing out the chaos. Furthermore, the story and sound are far from over as anything can happen when you enter the indomitable world of Jonny Chan and New Dynasty 6.    -Ted Liebler

Jonny Chan And The New Dynasty 6 - I Hate You Baby! (2CD Sound Camera Records 2009)  FLAC 1 2      320