The Donnas: Spend The Night (Atlantic/2002)

Palo Alto, California's The Donnas started out as a fast pop punk outfit on Lookout! Records but transitioned into a Millennial female hard rock answer to Kiss, The Ramones and The Runaways. The bands'  fifth album Spend The Night, was also their most successful charting at # 62 on Billboards Top 200 chart. The Donnas delight in deliciously trashy fun with kick-filled songs about hooking-up with randos, getting high on the pot marijuana, drinking beer  - they actually reference Bud Dry on one song -  (FYI Bud Dry was the beer equivalent of Mötley Crüe) - and general rock and roll partying.

Guitarist Allison Robertson channels Ace Frehley, Keith Richards and Angus Young with relative ease and singer Brett Anderson is always convincing in her convictions.

Highlight include "Take Me To The Backseat", "It's On The Rocks", "Pass It Around" and "You Wanna Get Me High". Spend The Night also contains the bands two biggest hits; "Take It Off" which charted at # 17 on Billboard's Modern Rock Tracks and #31 on the Mainstream Rock Tracks chart. "Who Invited You" charted on Billboards Hot Singles Sales chart. Both songs have been featured in a bunch of movies and television shows. "Too Bad About Your Girl" while never a commercially released single, had a promo video that received a ton of airplay on MTV at the time. The track "Big Rig" is a vinyl-only exclusive track.

The cover art features the girls ready to Spend The Night in a wood-paneled bedroom filled with all manner of 80's artifacts; Atari 2600 cartridges, a Colecovision game system, 8-Tracks cartridges on a CRT old-school monitor and Freddy Kruger are also present for the slumber party.

The album is unpretentious, trashy rock n roll fun.

Here's The Video Review:

Adam And The Ants: Kings Of The Wild Frontier (CBS/Sony/2016)

Kings Of The Wild Frontier was the album that started “Antmania” in the United Kingdom. It also contained “Dog Eat Dog” (UK #4), “Kings Of The Wild Frontier” (UK #2) and “”Antmusic”” (UK #2). The album itself reached #1 in the UK, #44 in the US and earned the band a BRIT award for Best Album and a Grammy nomination for Best New Artist.

It featured the Burundi dual drumming of Chris Hughes (aka Merrick) and Terry Lee Mail. The glam meets art rock guitar of Marco Pirroni. There's shades of Ennio Morricone all over the album and images of American Indian meets American Cowboy of the old West. All delivered in a knowingly cam, post-art school way. By all accounts it is a classic album.

Sony has just reissued the album on vinyl. It's absolutely 100% faithful to the original UK release. It even includes the Adam And The Ants Catalogue, which is basically an awesomely cool magazine all about the ants and features a ton of photos and paraphernalia of the time.

Highly recommended for all New Wave lovers. And loves of post-punk and garage too.

Special Thanks To Tee-Vee Game's Dave Rerecich.

And now, here's the video review:

Alex Chilton: Ocean Club '77 (Norton Records/2015)

In 1977, Alex Chilton was in a time of transition. The band he'd fronted as a teen idol The Box Tops broken up in 1970 and the Power Pop legends Big Star – the band that Chris Bell had formed with Alex, Andy Hummell and Jody Stevens - had broken up in early 1975. Chilton had just released the Singer Not The Song EP and to properly promote it he moved in New York. There he formed a band with Chris Stamey (later of the dB's) on bass and Lloyd Fonroff on drums. Later that year the band was known as Alex Chilton and the Cossacks and had Fran Kowolski on keyboards.

Ocean Club '77 is what might be dubbed an official bootleg. It was approved by the Chilton estate. It claims to be a soundboard show. Which it may well be, albeit a poorly-mic'd one. The cover art font doesn't do it any favors either. However, the packaging is nice enough, with nice liner notes as well.

The first thing you hear is Chilton ordering a “Canadian Whiskey & Coca Cola on the rocks” from the stage to the bar. So, immediately you know it's going to be a fairly loose affair. Which it is. Although, it's not too loose as the rhythm section of Stamey & Fonoroff are tight-enough.

The song selection is pretty wonderful. “September Gurls”, “In The Street”, “O My Soul”, “Way Out West” and “Back Of A Car” all get confident airings. The Third nugget “Nightime” does as well – a good year before it's release. “The Letter” gets a different, slower arrangement. “Can't Seem To Make You Mine” (a cover of the Seeds' classic), “Window's Hotel”, “All Of The Time”, “My Rival” and “She Might Look My Way” all of which appeared on the rejected Elektra Demos, are in fine form here. As well as covers of the rock classics “Memphis”, “Wouldn't It Be Nice”, Walk Don't Run” and Nelson Slater's Lou Reed-produced “Dominating Force”.

Definitely recommended for the Chiltonphile of Big Star devotee.  

Here's the very special video review version:

Special Thanks to: Ebet Roberts, Norton Records and Dave Rerecich for making me vanish at the end. Into thin air. 

Redd Kross: Hot Issue (Redd Kross Fashion Records/2016)

Hawthorne, California's Redd Kross were inactive for inactive for nearly ten years. After the band's tour for 1997's Show World, they quietly went on hiatus. Lead guitarist Eddie Kurdziel passed away of a heroin overdose in 1999. Jeff McDonald formed Ze Malibu Kids and Steve McDonald for the Steve McDonald Group. In 2006 the band formally reunited with classic Neurotica-era members Roy McDonald (no relation) and Robert Hecker. This band went on to record the critically acclaimed Researching The Blues album on Merge Records in 2012.

Throughout all of this activity/inactivity the band recorded a wealth of material. Some of which have included on Hot Issue, which is a self-released album in a limited edition of 500 copies. It comes in magazine-styled artwork and includes a download code.

Taking tracks that have been both previously released elsewhere and unreleased from various time periods and compiling them. The results could have been pretty scatter-shot, however the results make for a surprisingly cohesive listen.

“Switchblade Sister” was a single released in the UK, Spain and Canada in the Summer of 1993. By all rights, it probably should have been included on the band's Phaseshifter album, released that September. Roger Joseph Manning of Jellyfish co-produces and appears on “Born To Love You” (which was a free MP3 download in the early 2000's) and “It's A Scream” which appeared in the horror-spoof Shriek If You Know What I Did Last Friday The Thirteenth. “Starlust” appeared on the Jabberjaw compilation album. “Puss N Boots”, the New York Dolls cover, is from the 1981 Hell Comes To Your House comp, when the band was still known as Red Cross. “That Girl” originally appeared as the B-Side to the “Mess Around” single. “Motorboat” is a Kim Fowley cover that was on the SMG This Is Not A Revolution...This Is A Mass Awakening! EP. “Don't Take Your Baby Downtown” is the original version of “Stay Away From Downtown”.

If you're a fan of the Kross and can find it, by all means pick it up.  

Here's The Video Review:

Thanks to: Roger Joseph Manning Jr. Atomic Pop Monkey and Redd Kross,

Tubeway Army: Replicas (Atco/1979)

Replicas is the Tubeway Army's second and final album. It successfully marries the monophonic and polyphonic synthesizers and guitars of Gary Numan to the bass of Paul Gardiner and drums of Jess Lidyard. Given the nature of Numan's later work, the album isn't as icy cold as one would assume. 

It is a classic New Wave release and contains the UK #1 hit “Are 'Friends' Electric? As well as the non-charting single “Down In The Park” (which was memorably performed in the classic film Urgh! A Music War!). As well as such fine tracks as “Me! I Disconnect From You”, the instrumental “I Nearly Married A Human” and the title track. This is a great, early synth album and is highly recommended for fans of all things synthesizer and EDM. 

Here's The Video Review:

Bryan Ferry: Beacon Theatre, NY, NY 7/29/2016

I first happened upon Roxy Music in about 2002. I became a huge fan shortly thereafter. Roxy last toured the US in 2001, and I'd passed up on seeing Bryan Ferry twice already so it was high time to see the legend, in the flesh (+ blood). Ferry is 70 years old and, after seeing what a year this has been in way of music casualties, as a bona fide I needed to see him. I'm relieved to say that it truly was worth the wait.

His band was absolutely stellar and obviously very well-rehearsed. His setlist was a list of Roxy Music/Bryan Ferry fan-favorites and greatest hits. The tour was in support of his fifteenth solo album, 2014's Avonmore, and the title track started the night off. His biggest solo hits (in the US) "Slave To Love" and "Don't Stop The Dance" followed. A ton of early Roxy Music classics were also successfully tackled; "Editions Of You", "Ladytron", "Beauty Queen", "Virginia Plain" and lengthy versions of "If There Is Something" and "In Every Dream a Heartache" as well.

Ferry's voice was in fine form and he hit every note perfectly. He was as suave as one could hope he would be. Women of ALL ages were out-and-out screaming for the man in-between songs. One should only hope to be in his condition at age 70.

The Roxy Music classics "More Than This", "Avalon" and "Love Is The Drug" were all greeted with something resembling standing ovations. Perfect readings of  "Oh Yeah (On The Radio)", "Let's Stick Together" and a cover of the John Lennon (tribute) "Jealous Guy" and an emotional performance of the instrumental "Tara" from the Avalon album all made the night even more special than a Roxy/Ferry fan could have even hoped for.

Photos by: Bill Wikstrom

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.