Wednesday, November 25, 2015

Shoes: Black Vinyl Shoes (Sire U.K./1979)



Zion, Illinois' Shoes were influenced by the usual suspects that influenced Power Pop bands of the late 1970's; namely The Beatles, Nazz, The Who, The Raspberries, Big Star and Badfinger. Although they'd recorded three privately released albums in significantly small quantities the band commercially released their fourth album Black Vinyl Shoes. Released on their own Black Vinyl label and on US indie PVC shortly thereafter, the album was recorded in guitarist Jeff Murphy's living room on a TEAC 3340S reel to reel tape recorder.

The warm sound, low-key yet mellifluous multi-tracked harmony vocals and overall impact of the material made the entire recording industry sit up and acknowledge the fact that an album this professional sounding could be recorded at one's home and completely take place without the financial help of a major label. It was released on Sire Records in the UK in 1979 and in no time at all the band signed with Elektra in the US and went on to record albums that sounded not too different than Black Vinyl Shoes.




Musically the band has the crunch of the Dwight Twilley Band, the vocal harmonies of The Raspberries, the melodic punch of fellow Illinois bands Pezband and Off Broadway. Shoes' vocal harmonies and hooks seem to just roll off very naturally. Lyrically, Black Vinyl Shoes seems to be preoccupied with the politics and dynamics of romantic relationships. The songs can be pretty dark yet they never come off as such on the surface. There's a certain saminess to the material on this album (as there are on most Shoes albums). However, generally speaking, if you like Shoes sound, approach and material, you won't have a problem with this.

Here's the video review:


Wednesday, November 18, 2015

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.



Thursday, November 5, 2015

Blur: Think Tank (Parlophone/2003)



Blur's 2003 album Think Tank was both a personal landmark for it's experimentation as it was a sad, disappointing finale to the band's first part of it's career. It made over a dozen best-album of the year lists yet, it's a far cry from what makes people connect with Blur. Their blend of diverse guitar-based Britpop is as inventive-sounding now as it was popular in the UK then. Guitarist Graham Coxon was fired during the recording of the album and only appears on the sad, but beautiful “Battery In Your Leg”. The album does suffer as a result of his absence.

The singles were “Out Of Time”,“Crazy Beat” and “Good Song”. “Out Of Time” is one of the band's best ballads and it remains the lone long from the album that the band still regularly performs live. “Crazy Beat” is a Fatboy Slim-produced song and sounds like a stab at writing something along the lines of “Song 2”, but doesn’t really register. “Good Song” is in fact a good song. It has a sweet, poignant melody and is a stand-out on the album. A good amount of the album are murky, low-key grooves that work some of the time (namely on “Ambulance” and “On The Way To The Club”. There are some throwaways (“We've Got A File On You” and “Jets”) and some worthwhile moments (“Sweet Song” and “Battery In Your Leg”).




Think Tank is not a great starting place to discover who Blur is (that would be Best Of Blur, The Great Escape and Modern Life Is Rubbish). And lead singer Damon Albarn and bassist Alex James have since someone disowned the album. However it is an interesting experimental album that does work at least some of the time.

Here's the video review:



Special Thanks: Rebecca Parker.