hound gawd records - The I-94 Bar
You really don’t want to read another review masquerading as a song-by-song description of an album you’ve never heard? Good. You’re not going to get one.
Drop your preconceptions, too, if you’re a fan of the late great Jim Jones Revue.They’ve been dead and buried for close on three years. His other bands, Black Moses and Thee Hypnotics, have been decomposing in their graves for much longer than that.
You might think of it as just another European label re-issuing an American artist’s old work on vinyl - a smart commercial move because nobody in Europe buys albums on CD - if they can help it.But you should consider Hound Dawg Records' engineering the re-appearance of the first record for Pat Todd’s post-Lazy Cowgirls outfit as a public service. Here’s why:
Once upon a time, in the relatively genteel state of Virginia, there was a self-destructive punk rock band called The Candy Snatchers. Named after a trashy crime flick, they spilt beer and bled all over American stages before their guitarist prematurely shuffled off this mortal coil a decade ago, and they promptly fell apart.
L.A.-based The Ringleaders have Larry May of The Candy Snatchers on vocals and for that reason, among others, you need to pay attention.
The rest of the band – Hans Molnar (the Hellbenders) on guitar with Tim Bender (Death by Stereo) on drums and Mark Ho (Hollywood Hate) on bass – are similarly well-credentialed. Fully cranked, they sound like they’re heading to Hell in a Honda while out of their heads on glue.
What a monster of a 45. Two songs of fuzzed-up,slamming ’60s goodness from Germany, wrapped up in a full and contemporary (although not overly so) sound.
Loveland is a vehicle for Lana Loveland, organist for the a lineup of The Music Machine and the now EU-based Fuzztones and the better half of that band’s Rudi Protudi, with whom she has recently birtheed a child. A prog rock lullaby this single is not.
“Stranger Charms” kicks off with a microsecond throb of Rudi Protudi's bass before a wall of crunching, insistent guitar from ex-Fuzztone Lenny Svilar arrives. The song sounds like a cross between the early versions of the Lime Spiders and The Stems. Lana Loveland’s clipped Germanic purr sits perfectly in the middle of the mix while Svilar’s guitar pans left and right.
The aptly-titled “Web of Sound” adds Lana’s pulsing keyboard to the mix and is a nasty slice of acidic punk. Protudi and drummer Oli Freidrich lock in and lay down a sonic bedrock for the other two to add colour. Ms Loveland has an agreeable and authoritative vocal. More serrated edge guitar takes the song out. Again, there are no surprises but so what when it's this great.
Get your mouse pointed at this link and order a copy. I'm off to find myself a copy of the Loveland album that pre-dates it.
Detroit boy and founder of The Gories, Mick Collins, always did love to fuck with expectations in The Dirtbombs. Now, he's doing it again with some new playmates in Heavy Trash's Matt Verta-Ray, Matt's wife Rocio, and members of Swiss creole kings Mama Rosin.
"Subway Zydeco" sounds like it was cooked up in the kitchen of a cajun restaurant in the East Village, with a liberal sprinkling of blues. You can bet a New York minute against a free ride in a checker cab that this was exactly the intention. It's an LP of obscure 45s taken off a Louisiana jukebox and transplanted to a New York City dive bar.
If you came expecting a Blues Explosion - Jon Spencer co-founded Heavy Trash with Matt Verta-Ray - you're in the wrong place. "Subway Zydeco" is more folky than swampy, its pumping rhythms tied to accordion for most of the way.
If you’re going to raid the garage for inspiration, make sure you’re taking your cues from the best.
Rod Hamdallah grew up in Atlanta, Georgia, and was playing gin joints and trashy dive bars before he was old enough to legally drink, steeping himself in blues, '50s and '60s rock and switchblade punk sounds from the get-go.
This 10-inch vinyl EP is a re-issue of Hamdallah’s self-issued debut CD from 2014 and reverberates with rebellious righteousness.
If proof was needed that Brexit was a dumb idea, consider that this is an Italian band on a German label playing music that owes its origins to the sounds of Africa after they were transplanted to North America.
The letter ’s’ is very important in the band’s name because there’s an outfit calling itself The Gentlemen from Sheffield in the UK that plays disco pop. Disco pop? Never heard ‘em but daresay if none of us ever do, we’ve probably dodged a bullet.
The Gentlemens play noisy punk blues. Really good, noisy punk blues. They’re a trio (two guitars and drums) and they sound huge. The absence of bass is not a problem.
Paolo Fioretti is the sole vocalist (he sings in English) and guitarist who also punches in synth and keyboards. His guitar tone is warm and chunky. Not too much chicken scratching here; the man can play. His amico Giordano Baldoni is no slouch, either. They don’t re-invent the form, they work within it and avoid cliches.
Unless I’ve blinked and missed them, it’s been more than a decade since King Brothers appeared on Australian stages and 20 years since they started as a band. Time is rarely kind to any of us, however King Brothers' trademark brand of brutal “hardcore blues” not only remains intact but has blossomed.
“Wasteland” might be their sixth or seventh full-length album - background is hard to dig up on the Interwebs when you don’t read Japanese - and it leaves little to the imagination.
King Brothers are a two-guitars-and-drums trio from Nishinomiya City whose sound has been called “the Germs backing Howling Wolf”. Eric Oblivian reckons they’re the best band in the world and they tour the world constantly.