Junior Senior: D-D-Don't Don't Stop The Beat (Crunchy Frog Records/2002)

Junior Senior were a Danish duo consisting of Jesper Mortensen (Junior) and Jeppe Laursen (Senior). Ostensibly they were an indie/dance pop band. However their sound is an happy amalgamation of garage rock, breakbeat, B-52's kitsch pop, electronic music, mid 60's Rolling Stones, rockabilly and surf guitar lines, ecstasy-influenced dance pop and sprinkles of hip hop. But more than all that, their music is unabashedly lively, uninhibitedly gleeful and unpretentiously fun. The album was rightfully perceived as a breath of fresh air when it was released as it sounded – purely based on attitude alone - nothing like anything else at the time.

The band's debut album D-D-Don't Don't Stop The Beat was universally acclaimed upon it's 2002 (or depending on the market, 2003) release. I first became aware of the band when I heard their classic “Move Your Feet” single on the radio on July 4th 2003. I thought it was some new wave dance classic that had somehow escaped me and I was only just hearing it for the first time. Not surprisingly it was a universal hit that Summer (a top 40 hit in a dozen countries, peaking at #3 on the UK singles chart and #45 on Billboard's Hot Dance Club Play chart). “Rhythm Bandits”, which is possibly my favorite track on the album, was also a top 20 hit in the UK. The third single, “Shake Your Coconuts” appeared in the films Loony Tunes: Back In Action, She's The Man and Confessions Of A Teenage Drama Queen.

The humorously references several American pop musicians on “White Trash” nearly as much as they reference themselves on “Go Junior, Go Senior” and “C' Mon”. And they make it abundantly clear on tracks like “Chicks And Dicks” that Junior, is straight and “nasty and small”. While Senior is gay and “handsome and tall”. Junior sounds like Michael Jackson singing “Rock With You” on “Move Your Feet” sounds like Wham's “Club Tropicana” played at twice the normal speed.

The vinyl release only came out in two markets; Denmark and the UK. The Danish version of “Shake Me Baby” is an entirely different recording with different lyrics and is titled “Just Shake It Brother”. It also has alternate mixes of “Boy Meets Girl” and the American version of the album contains the single version of “Rhythm Bandits” (which again, also vary on various other editions as well). And the cover art image is flipped on various versions and the UK vinyl version has a cover unique unto itself.

If you're going to have a party where people may be inclined to dance via their own uninhibited natures or perhaps doses of MDMA or large quantities of alcohol. Combined with a good sound system and the volume turned up a ways, this is the album for you. Most very highly recommended.  

Here's the video review:

David Bowie: ChangesTwoBowie (RCA/1981)

David Bowie was a legend. A musical chameleon with a flair for the dramatic who adapted to or set trends. He was a trendsetter for glam rock, proto punk, experimental electronica, art rock, new wave, dance rock and blue-eyed soul.  He had impeccable style, taste and always worked with the most-interesting musicians. He's influenced basically everyone, indirectly in one way or another. He's produced music that is very easy to take for granted in that he completely made it sound too easy.

I've chosen to review a lesser-revered release of his. ChangesTwoBowie, which was a follow-up compilation album to ChangesOneBowie, and was a contractual obligation release that RCA put out without any involvement from Bowie. Needless to say, it's not as satisfying a compilation as it could be, as it omits several singles from 76-81 (namely "Boys Keep Swinging", "Heroes", "Beauty And The Beast", "Be My Wife", "Up The Hill Backwards", "Scary Monsters (And Super Creeps)", and "Look Back In Anger"). In other words, it could have easily been a very satisfying double-album.

It does however feature the amazing "Fashion",  the equally fabulous "Ashes To Ashes", the great "DJ" (which supposedly was Bowie aping David Byrne), the funky "Sound And Vision" and the underrated and unique ballad "Wild Is The Wind". It also contains the remake of "John, I'm Only Dancing". The seven minute long "John, I'm Only Dancing (Again)", which was recorded in 1974 during the Young American sessions but not released as a non-album single in late 1979. It also contains the pre-1976 songs "1984", "Starman", "Alladin Sane" and "Oh U=You Pretty Things".

It's not as perfect as ChangesOneBowie (nor as successful), but it's still a great listen as these tracks are all top-notch Bowie and stand as a mini-testament to his unique talent.

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 Beach Boys: Beach Boys' Party! Uncovered And Unplugged (Capitol Records/2015)

In the Autumn of 1965, Brian Wilson was composing and preparing The Beach Boys' legendary Pet Sounds album. 1965 also saw the release of two top-five charting albums (The Beach Boys Today! and Summer Days (And Summer Nights!!)) which both show Wilson's maturing as a songwriter and a producer. By the middle of the Summer Capitol had been hounding the band for a new album to release for the Holiday shopping season. However, the band didn't have anything prepared. So, Brian Wilson came up with the idea of recording an album where the band sounds like they're just hanging out at a party with their friends and just performing acoustic cover versions of some of their favorite songs. The only instruments heard are acoustic guitar, bass, tambourine and bongos.

The album contained covers by Bob Dylan, The Everly Brothers, Phil Spector and three songs by The Beatles. Plus the novelty songs "Alley Oop", "Hully Gully" & "Papa Oom Mow Mow". The band's cover of "Barbara Ann" from this album was rush released as a single by Capitol when the bands' non-album single "The Little Girl I Once Knew" stalled at #20 on Billboards single charts. Apparently, "The Little Girl I Once Knew" was taking too long a time, slowly building momentum, in becoming a hit for the label's liking.  "Barbara Ann" reached #2 on the charts. Dean Torrence of Jan & Dean sings co-lead on the track with Brian Wilson.

To add a party atmosphere to the album, the bands recorded an ambient track of just chatter, clinking of glasses and general party noises which pervades the entire album. Capitol record has just released Uncovered and Unplugged, which is the album without the backround ambient track and just the band playing and singing in the studio. The vinyl version is a beautiful reproduction of the album with labels faithful to the original mid-60's Capitol label. And the CD contains two discs of the album itself and virtually all of the outtakes as well. Including versions of "(I Can't Get No) Satisfaction", "Ticket To Ride" and "California Girls".

The album itself is unwittingly a virtual snapshot of the pre-Pet Sounds Beach Boys. How they were and never would be again.

Highly recommended for the Beach Boys connoisseur and for maybe a listen for the Beach Boys novice as well.

Here's The Video Review:



Special Thanks to Dave Rerecich of T.V. Games.

Zorro Zero & The Warlocks: A Very Special Krizmas Gift For You (Fanatical Army Records/2014)

Now this Holiday offering comes from an eccentric New York art-collective known as Zorro Zero & The Warlocks. They started out in the late 90's in a more punky vein (i.e. thirty-second guitar-based outbursts about Pathmark, V-8 and Weebles). Zorro Zero is the cult leader/lead singer. And the Warlocks are Denver Gillette and Groove Champion, who both handle the production/music end of things.

This release is a would-be traditional Christmas album, except it's creepy, tripped-out and the vocals border on satire. "Sleigh Ride" features left-field outbursts from "cult leader" Zorro Zero like "let's bang a pigeon", "All I Want For Christmas Is You", sung but Denver Gillette, sounds like Axl Rose in a karaoke bar, and "Santa Claus Is Coming To Town" is sung a tad too excitedly by Groove Champion.  There are deep shades of homo-eroticism to spare in "Christmas Wrapping" (the Waitresses cover) and "Baby It's Cold Outside". There are three tracks of banter from the band members to coax the listener even further into Holiday cheer. Kudos for the sped-up bridge in "Marshmallow World" and the crazy Nintendo-esque music in "Let It Snow".

If you can find this unusual Christmas album, by all means, pick it up.

Erasure: She Will Not Be Home For Christmas (Sire Records/1988)

Erasure's holiday offering comes from their Crackers International EP. It's basically a song that takes at the holidays as opposed to being a Christmas song, per se. It's decent little song. Musically it sounds like quintessential Erasure; bright and danceable synth-pop.  The B-Side is a version of "God Rest Ye Merry Gentleman". I'd say, avoid this and gravitate towards lowest-common denominator Erasure; the hit singles.

Payola$: Christmas Is Coming (A&M/1983)

From their third album, Hammer On A Drum, Vacouver's Payola$ released this Holiday gem in 1983. It's a mid-tempo love song filled with longing and loss, reverb on the snare and chorused guitars. It was the 80's thank you very much. It's a fine song, Holiday-themed or not. Nice, logical chord progressions in the verses. It was released on nice clear green vinyl in the US. Not too much to say other than it's not regarded as a holiday classic and it's a damned shame that it isn't.

Recommended holiday listening.