The Fleshtones: The Band Drinks For Free (Yep Roc/2016)

In 2016, New York's The Fleshtones celebrated their 40th anniversary. They're the only band from the mid 70's downtown scene to remain active every year of their existence. Celebrating this milestone, the band released their twenty-first record, The Band Drinks For Free.

A groovy cover of Ten Years After's "Love Like A Man" (which features guest vocals from Lisa Kekaula of The Bellrays) starts things off confidently enough, and that confidence doesn't seem to let up. The album reveals a few modern-day Fleshtones classics in "Rick Wakeman's Cape", "Suburban Roulette", "Living Today" and "Stupid Ole Sun". The band also cover the forgotten surf-movie ditty "The Gasser" by The Hondells. The band rocks in it's usual way; classic garage rock with stomping beats, fuzztone bass, Farfisa-organ strains all laced with the right amount of harmonica wails.

Lead singer, keyboardist and harmonica man Peter Zaremba (aka the host of Count Zaremba's Crypt on SiriusXM) is in excellent form, as always. guitarist/vocalist Keith Streng, bassist/vocalist Ken Fox and drummer extraordinaire Bill Millhizer, are, as always, never less than excellent.

Yep Roc offers a Bundle which includes the vinyl LP, the CD, an MP3 download code of the album, a 7" single of the non album title track (which for my money is the best song by the band in years) and the album B-Side of "Love My Lover". And the real selling point, for fans of the stealth carrying of liquors is a Fleshtones flask!

Most very highly recommended!

Here's the video review:

The Fleshtones, Dirty Fences, Paul Collins' Beat, Big Huge. Monty Hall: Jersey City, NJ 7/22/2016

Jersey City's WFMU-FM has a concert space known as Monty Hall, also in Jersey City. It has a decent-sized stage, carpeted floor, fairly good acoustics and two gentleman selling beer cans (Sierra Nevada, Brooklyn Lager, etc) out of two coolers behind a small table. It has a welcoming, relaxed and funky vibe.

Brooklyn, NY's Big Huge started the night off and I was surprisingly captivated by the bands natural cohesion and the lead singer's easy confidence. Since they arrived late, they only played a few songs. All of which were pretty great.

Next up was Power Pop legend and ex-member of The Nerves, Paul Collins, with a new version of The Beat. His band sounded great and Collins himself also sounded like he wouldn't know how to phone it in if he tried. He was enthusiastic and had an easy rapport with the audience. He performed "Rock N Roll Girl", "The Kids Are The Same", "Walking Out On Love" and "Working Too Hard" - all Power Pop classic standards, written by the man himself. He also belted out a version "When You Find Out" from his days with The Nerves. If you have the opportunity to see the good man in person, by all means do.

I spent the majority of Dirty Fences' set talking to my friend Susan in the back of the venue. The band had a fairly generic, hard-rock sound informed by mid-late 1990's MOR guitar rock.

I've seen The Fleshtones at least a dozen-times since 2001. The band is celebrating their 40th anniversary this year. And if their performance at Monty Hall is any indication - they're nowhere near retirement. The band, with their easy showmanship and stage moves and who are all in their fifties, put bands in their twenties to shame.

Count Peter Zaremba - who also has a program on Little Steven's Underground Garage - came on stage in a cape, played Farfisa Organ, blew harp and sang like a virtual garage rock legend. Bassist Ken Fox and guitarist Keith Streng's synchronized moves recalled Paul Revere And the Raiders. And drummer Bill Milhizer was as reliable and rock steady as always. The biggest surprise of the night was the return of sometime Fleshtones saxophone player Steve Greenfield(!).

The Fleshtones are a band that sound even more ultra-stupendous with a saxophone. A portion of their brand of freak-beat garage-rock basically demands it. Greenfield played on "I Was A Teenage Zombie" and "Theme From The Vindicators". The band played such latter-day classics as "Bigger And Better", "Feels Good To Feel" and "Let's Go". They encored with the classic single "Shadow Line" and "My Kinda Lovin'". They were phenomenally tight this evening. Great show. Also, I hung out withYo La Tengo's Ira Kaplan and author of Sweat! The Story Of The Fleshtones, America's Garage Band biography author, Joe Bonomo. All in all, an awesome night.

You must go to a Fleshtones show to truly experience The Fleshones.

The Fleshtones: I Surrender b/w Dominique Laboubée (Yep Roc Records/2015)

New York Garage Rock legends The Fleshtones have been signed to Yep Roc Records since 2002. In that time they've released six great albums, six fantastic singles and one delightful EP. 2015 saw the release of the bands "I Surrender" single.

The A-Side is a faithful cover of the 1968 Bonny St. Claire mod anthem. The production here closely mirrors that of the original recording. The band sounds in fine form and it also marks the return of a Fleshtones horn section. Both Steve Greenfield (on sax) and Joe Loposky (on trumpet) have played on and off with the band since the late 80's. In my opinion, the only thing that is missing from a modern day Fleshtones show or recording is a horn section. And "I Surrender" is proof of that. The song also seems to musically reference the classic Fleshtones rave-up "Whatever Makes You Happy".

The B-side is a tribute to the late lead singer of the French band The Dogs, "Dominique Laboubee".
The song has a nice, moody harmonica line that recalls The Beatles' "There Is A Place". It's a nice tribute to Dominique Laboubee.

"I Surrender" was something of a Summer hit on Sirius Radio's Little Steven's Underground Garage. In fact it was even nominated for Little Steven's Coolest Songs In The World for 2015. The vinyl single comes with a digital download code. And all in all a fine slice of vinyl from The Fleshtones.

Here's The Video Review:




Special Thanks To: Cassandra Fowler.

The Fleshtones: Speed Connection: Live In Paris 85 & Speed Connection II: The Final Chapter (IRS Records/1985)

New York's The Fleshtones are one of the longest-running CBGB's era bands. They've continued for the last 39 years (since 1976) without a single year of inactivity. Their blend of freakbeat soulful garage rock has always resonated with live audiences throughout the world. In 1980 they signed with Miles Copeland's legendary I.R.S. Records. They released two magnificent studio albums (Roman Gods and Hexbreaker), two EP's (Up Front and American Beat '84), about a dozen American and European singles and two live albums; Speed Connection: Live In Paris 85 and Speed Connection II: The Final Chapter(Live In Paris 85).

The album was recorded live at The Gibus Club, Paris, France on March 7, 1985. The band were booked to play nine shows at the club over a two-week span, in two segments (March 5–9 and March 13–16). The band had recorded the first show (March 5, 1985) and - at the urging of the French division of I.R.S. Records' vice-president (and original Police guitarist) Henri Padovani - subsequently rush-released it to sell at the venue during their two-week stay. The record was titled Speed Connection: Live In Paris 85 (ILP 26412) and was only released in France. The cover art was by famous French illustrator Serge Clerc. However the band was unhappy with the record as lead singer Peter Zaremba had a severe case of laryngitis the night that show was recorded.

The band owed the American I.R.S. Records one more record to fulfill their contractual obligations. In September 1985 the label released Speed Connection II - The Final Chapter (Live In Paris 85) - a recording of their third night (3/7/85) at the Gibus Club. "Return to the Haunted House" was actually a studio recording with canned applause taken from the live album Rock Will Never Die by Michael Schenker Group. The same recording also later appeared (minus the canned applause) on the Angry Years 84-86 compilation album on Impossible Records in 1993. The cover artwork was by organist and lead singer Peter Zaremba. Both albums were produced by ex-Strangelove Richarard Gottehrer of “I Want Candy Fame, who had also produced albums by The Go-Go's & Blondie.

The album contained many cover versions of songs by other artists. "Trouble" and "Haunted House" by The Kingsmen, "Wind Out" by R.E.M., "La La La La Reprise" by The Blendells, "When the Night Falls" by The Eyes, "Twelve Months Later" by The Sheep (who were actually The Strangeloves under a pseudonym) and "Hide & Seek" by Bunker Hill. 

In critical terms, Speed Connection really only hints at what a Fleshtones show was like in the 1980's (as sadly the horn section hasn't really been a fixture of live shows since the mid 90's). Peter Zaremba's laryngitis is only partially to blame for the lack of success of the record. A comparatively limp recording is basically what mars the proceedings. Speed Connection II is far and away the superior of the two recordings. Although both albums have nearly identical tracklistings, everything sounds slightly better on SC:II and Zaremba's voice is in fine, wild form. The band is tight as it generally always was at the time (and still is for that matter). R.E.M.'s Peter Buck makes a special guest appearance on two songs on guitar and the horn section sounds nice and appropriately sloppy. The album received uniformly excellent reviews at the time of its' September 1985 release but the label did literally nothing to promote it.

I'm wondering if this is the best starting place for a Fleshtones novice to start looking into what the band sounded like in the 1980's. This is possibly the best representation of the band's live prowess. As it has a loose, sloppy and sweaty soundtrack to a mid 80's party appeal.

Here's The Video Review:

Special Thanks: Joe Bonomo & No Such Thing As Was, Maxwell Max, Robert Barry Francos and Zorro Zero & The Warlocks.

The Fleshtones: Wheel Of Talent (Yep Roc Records 2014)

New York City's The Fleshtones have been producing their unique brand of "Super Rock" since 1976. Originally from Queens - transplanting to Brooklyn in the early 90's - the band has been the preeminent nuevo garage rock band since the early 80's. Connoisseurs of 60's soul, pop, garage and surf. The band has released Wheel Of Talent, their twenty-second album in total and their seventh since being signed to the wonderful Yep Roc Records in 2002.

There is the very first use of a string section on a Fleshtones album - on the single "Available" (which addresses the gentrification of Brooklyn) and "How To Say Goodbye". Both tracks incorporate them nicely into the bands melodic area. The album's other single ("For A Smile") features girl-group lead vocals from Southern Culture On The Skid's Mary Huff. "The Right Girl" is a British Invasion-styled nugget and features faux-cockney ballad vocals from Peter Zaremba. "It Is As It Was" features guitarist Keith Streng on lead vocals and references the bands biography Sweat: The Story Of The Fleshtones, America's Garage Band (Continuum Press, written by Joe Bonomo). "Roofarama" features a liberal amount of wah-wah guitar and whooping-backing vocals.

 "Remember The Ramones" is about that Other band from Queens that The Fleshtones were friends/peers with and the time. "The Clash and The Pistols didn't exist/CBGB's was very loud/Suicide attacked the crowd/I was drinking Remy (Martin) with Marty Thau". The band humorously sings the chorus as "Remem. Ber The Ramones". The band does a Spanish-language cover of The Music Explosion's "I See The Light" (a live version of which previously appeared on their Soul Madrid LP). "Hipster Heaven" bemoans Williamsburg hipsters. Not a new subject for the band (the band's "Take A Good Look" from 2008 and "Haunted Hipster" from 2013 do the same). "Tear For Tear" is my personal favorite track and it closes things out nicely in a soulful way. And it features very nice lead vocals from Peter Zaremba.

The band seems to have refined the sound they established on the trilogy of excellent albums they released from in the mid 2000's (Do You Swing? from 2003, Beachhead from 2005 and Take A Good Look from 2008). The muscular rhythm section of Bill Milhizer and Ken Fox are well-accounted for. The Farfisa organ of Peter Zaremba is present (albeit sparingly) as are the garage band backing vocals of the group. The album features guest backing vocals from none other than original Fleshtones bassist Jan Marek Pakulski (who was also on the band's 2001 Solid Gold Sound album). As a longtime-fan, it's nice to see his name grace a new Fleshtones album.

You may have heard Steven Van Zandt sing the praises of The Fleshtones on his Little Steven's Underground Garage program or maybe you heard them on an I.R.S. Records compilation from the 1980's. Either way it's high-time to discover this durable band as this album (as is Beachhead or Take A Good Look) is a nice modern introduction.

Here's the video review:

Thanks to: Yep Roc Records, Cassandra Fowler and The Fleshtones.

The Fleshtones & Los Straitjackets featuring Deke Dickerson at The Bell House, Brooklyn, NY, Friday 10/31/14

The Fleshtones - originally from Queens, now of Brooklyn - and Nashville's luchador-masked Los Straitjackets (featuring Deke Dickerson)  were the bands performing this year at Brooklyn's The Bell House Halloween show.  And there were many costumed-patrons there to celebrate the festive holiday as well. I've been a fan of both Los Straitjackets and The Fleshtones for many years and the thing that these bands share: their blends of surf and garage rock stylings with various other elements unique to the individual bands. Neither bands ever fails to deliver an entertaining performance and both make it look all too easy.  

                                     

I'd seen these two bands (along with Southern Culture on The Skids) perform last Halloween-season at Brooklyn Bowl, so I'd come to know what to expect. The Fleshtones deliver solid, dependable 60's styled R&B-infused garage rock: "Super Rock", as they've long dubbed it. And the fully-formed fourteen-song set they delivered was excellent, and I believe, took  more than a few audience-members by surprise. The band casually strolled onto the stage from the side of bar, while playing one of their Halloween standards, "Dance With The Goulman" via wireless bass & guitar. Lead singer Peter Zaremba walked around with a bucket of candy and distributed it to the crowd. The band then launched into their big should-have-been hit from the original motion picture soundtrack (and title-track) I Was A Teenage Zombie.

 The band performed songs from their newest album - their twentieth in all - Wheel Of Talent ("What You're Talking About", " Remember The Ramones" & "Veo La Luz"), as well as songs from their last few Yep Roc releases - the band's label since 2002 -  from 2008's Take A Good Look ("Feels Good To Feel"), 2005's Beachead ("Pretty Pretty Pretty") and from 2003's Do You Swing? (a cover of the Coastliners' "Alright"). Despite a fan gripe that The Fleshtones rarely venture into their wonderful and woefully-overlooked I.R.S. Records catalog of material, the band's choice of  material was satisfying.

I've yet to see a band more forthcoming in their performance without grossly overstating things than The Fleshtones. Bands half their age (their average mean-age for the band members is 50) have much to learn from these guys. Bassist Ken Fox, Drummer Bill Milhizer and Guitarist Keith Streng are still as vital as ever. They've been preaching the word since 1976 and show no signs of slowing down. If these guys are in your town, by all means check them out!

The Fleshtones, above, in mock-heroic pose. And the band in human-pyramid mode.

Before exiting the stage Fleshtones lead singer Peter Zaremba reliably informed the audience that
"only the Fleshtones know how handsome Los Straitjackets are".

Los Straitjackets performing above, in perfectly-synced surf guitar pose.

Instrumental surf rock masters Los Straitjackets are currently on tour supporting their newest album Sings The Great Instrumental Hits!!! with special guest vocalist Deke Dickerson. The album tackles instrumental hits such as "Pipeline", "Miserlou", "Popcorn" & "Theme From A Summer Place". However these songs had lyrics all along and Dickerson is here to reinstate them back to the public consciousness. Deke Dickerson is an excellent surf rock guitarist, but he is a just an okay vocalist.

So, to have one of the great modern-day surf rock bands perform with a just-okay vocalist is anti-climatic to say the least. I overheard someone behind me mumble "uh-oh, it's the show killer" when Deke, dressed like a Dracula Elvis, gamely sauntered out for his first song.

The band performed only three instrumental songs, the last being a spooky version of "Theme For Halloween", before being joined by Deke (who overall put on a pretty good performance). If you've ever seen Los Straitjackets perform and are a fan of their instrumental greatness, you can only imagine their set being tainted by a vocalist, let alone an average one. If the band are on tour without a guest vocalist, they must be seen to be believed.

 

All photography copyright: Bill Wikstrom.