The Love Me Nots Get Groovy on Upsidedown Insideout!

The Love Me Nots

Upsidedown Insideout
AtomicAGoGo/MayCauseDizziness/BadReputation

I've always been a big fan of The Love Me Nots. Great, loud, surfy guitars, steady, pounding beats, and a female lead vocalist who sizzles with every word. On top of that, every song is memorable and steeped in surf, garage, and Detroit R&B, but they have their own mod image that's retro and still all ther own. This band has always been an incredible package. They've more or less mastered the whole garage thing by digging up those influences that create garage rock and playing them so well with their own, unforgettable mark. The problem is, how does one top that? One word: Change. Let's face it. Garage rock is enduring and once one becomes a fan, they steep up all the influences that created it and added to it, but the mix of Northern Soul, Motown, R&B, fuzz, surf, '60s punk, and early psychedelia can sound a little redundant even to the most broad minded and music knowledgeable junkie, so it gets harder to create something new and different out of that. In comes the third release from Phoenix's The Love Me Nots. In form of familiarity with the new, long time producer and collaborator Jim Diamond worked the keys and added some extra playing, but instead of going to Ghetto Recorders for laying down the tracks, Jim flew out to Phoenix and sat in with them at Flying Blanket Recording for the new album. New drummer Bob Hoag also took on the role of pre-mastering.

The red hot cover instantly suggests a new direction for the band. Although the simplicity of their other album covers are there, the upside down silhouette of go-go boots with a red background indicate something a little bit modern in reminding one of the opening credits for the popular, mid century period TV program "Madmen." The first track, "Do What You Do" is equal parts guitar and Farfisa sharing lead and melody, but Michael Johny Walker plays longer, more "lead guitar" type riffs that suggest a more hard rock than surf base and Nicole's vocals have a slight background at times that suggest The Yeah Yeah Yeahs. Still incredibly cool '60s mod, but maybe with a little bit of a broader appealing twist. The following "Karen (Get Yourself Out)" is a manifesto for vintage organ with guitar taking a more melodic role, although there's still a few solos that expand the appeal outside of the garage rock world. The song is also a crowd pleaser that's known to really get the crowd going at their shows. Perhaps the biggest shock is "You Don't Know a Thing About Me" with a sweet acoustic guitar base, super heavy keys, and electric that combines into something straight out of The Paisley Undergound movement, only bluesier.

Nicole Laurenne's power and presence have always taken front and center, but Kyle Rose Stokes' added vocals on songs like "You're Bringing Me Down" and "He's What I Want" give a stronger gender balance. Upsidedown Insideout overall has a greater melodic approach than their earlier work, but still has heavy garage and speedy beats such as "Take Pity." It also has songs like "The Kinda Love I Got" that are more of a straightforward, super charged guitar pop that pushes towards broader appealing rock. "Fire and Pride" is definitely soul in its sweet, sad melody punctuated by deeper, bluesy desperation and surf riffs, but brings to mind another new theme that runs throughout the whole album: No matter the volume or tempo of the songs, all of them have this incredible grooviness, even with my personal surprise for the lyric "I don't like paisley" on "Not That Kind of Girl" still rocks my world.

I've listened to this album multiple times over the past 6 months or so, appreciating its new sound while still trying to grapple with the fact that it has a new pop appeal while still steeped in everything that makes The LMNs a great band: Great, loud guitars, sweeping organ, an intense beat, and a vocal delivery that's tough, sexy, and desperate at times. Perhaps what's really telling about Upsidedown Insideout is that it never gets too familiar. Even with repeated plays, one hears something new or appreciates something a little more with each listen, such as Nicole's Farfisa solo on "Rosie" that floods one's ears, or the almost classic blues sound of "Undone."

Upsidedown Insideout is The Love Me Nots doing the kind of rock that they're known for. It's strong, loud, and has that sense of heat that they're known for, but it's definitely a new direction for them. It's musically recognizable, but full of surprises. Their previous releases are too and incredibly well done, but this release offers more melody and grooves that embellish their simplicity and break a lot of new ground. It's more than a great effort. It's an incredible album that one never gets tired of hearing.

Upsidedown Insideout is available from numerous outlets including Atomic A Go Go and Get Hip Recordings.

The Morning After Girls: Alone

The Morning After Girls

alone
Unsigned

I love rock 'n' roll. I like it simple. Three chords driven by a beat and some occasional harmonies from either guitar and/or vocals is all you need. However, every now and then a deviation from that comes along that makes me expand my paradigm. Most of us like at least some psychedelic music as it relates to early garage rock, but psych has taken so many twists, turns, and different beats that we tend to be very selective in the bands we like within that labeling. Hailing from from Australia, Tanzania, and New York City, The Morning After Girls take psychedelic rock on some familiar roads and then end up at very new places. I'm not sure if that description gives Alone enough justice. In many ways, this is completely new.

The opening "A New Silence" is a short drone of feedback. Not much to hook into, but goes right into the acoustic intro of "The Best Explanation", a song with beautiful soft vocal harmonies and explosions of celestial psych guitar and feedback that goes from complexity to simplicity and back again. It's a little sonically overwhelming, but carries a sharp, colorful lysergic quality that sounds both beautiful and confrontational. The following "The General Public" takes the paisley underground revival and turns it on its head by adding the Revolver influenced side of '80s Britpop in its dance beat, but with an emphasis on rawness instead of cleaner production that characterized much of the music from that era. The title track "Alone" continues in this vein closer to the early '90s Manchester psych of The Stone Roses or some of the Stonesier material from Primal Scream or The Verve, but the only strong commonality it has in its structure. The vocal harmonies are softer and much more memorable, but the guitar is both melodic and filled with feedback, which makes it more attention getting than what's commonly called "Shoegazer."

Like the title itself, "Death Processions" is a little on the brooding side with it's goth rock tone, but not quite dark psychedelia with wah guitar and noise. Nevertheless, it's another song that demands multiple listenings because one hears something different that they can't quite place their head around every time they hear it. In a slight continuance of the theme, "You Need To Die" matches only in title. The production, backing guitar melodies, and overall theme suggest more of the mid era Who/psych rock of The Soundtrack of Our Lives, but takes more risks. "Who Is They" also continues in this melodic mold, but like many other tracks on Alone, the combination of the harsh and the exquisite in vocals and guitars take one on familiar roads to places they've never been. On a personal note, this track amazed me to the point that I often had to pause it and take a break in order to absorb what I just heard.

"Part Of Your Nature" is probably the most straightforward tracks as an acoustic song, but also has vintage sounding loops (sound moving back and forth) and a harmonic, Edge like guitar climax that carries the song to its conclusion. "To Be Your Loss" has a lush, shimmering quality and a higher pitched vocal that more or less defines shoegazer music, but vocal contrast and guitar driven melody leaves a lot more enjoyment in its abrasive quality and volume.

"There's A Taking" catches one off guard given all the guitar hooks one has up to this point. It feels like a short, intense foray into Syd Barrett's mind in the mid '60s as he began to slip away. None of us have ever been there nor is anyone really qualified to say that, but it feels detached and somehow hints at accurate mental perception. I'm not really sure if there's a better way to describe it, but I think the interpretation is best left open. "Still Falling" has the complex but engaging sound of modern era The Chuch, only one also hears the folky simplicity of "Jane Says" for a song that is so beautiful that I felt a lump in my throat after the first few listens. However, this becomes the norm for Alone after repeated listens.

The lengthy, ending tome of "Tomorrow's Time" passes closely to the country tinged psychedelia of former labelmates The Asteroid #4, but the first 5 minutes are the bulk of the song followed by silence until the echoed noise of the last one and a half minutes.

On their new release, psychedelic rock is encapsulated and compressed from all the different revival eras into something that tends to explode outwards, expand, then contract. It's heavy, melodic, harmonic, abrasive, confrontational, never stays in the same place, but never strays into meandering or a background, which is really the essence of good psychedelic rock. It remains rock. It's exciting, different, goes in different directions, but never sounding like an aimless experiment.

As a major proponent of the three chord rock ethos, one has to move their feet and dance to call it good rock 'n' roll. There are notable deviations, but that's really it. Every now and then, something comes along that demands one to think twice. After all, if one cites bands like The Byrds, Love, VU, and a growing list of other acts that drew upon early psych and garage rock to reinterpret it, the idea grows and is no longer as cut and dry. Certain things come along that demand attention beyond the simple mindset. The new release from The Morning After Girls is not just a prime example of this, but truly phenomenal.

Alone is currently available exclusively on iTunes for the USA.

The General Public

The Moog

Razzmatazz Orfeum
Musick Recordings


You Raised A Vampire, Side B The Passion Of Lovers (Bauhaus, featuring David J) Artwork by Gris Grimly

After a long hiatus and especially since 'tis the season, there's nothing like sinking your teeth into something from Hungary, the home (He ruled what is now Romania, but was born in Hungary) of a bloodsucker that doesn't need to be named. To boot, The Moog even live up to their birthright with "You Raised A Vampire", the first single from their latest release Razzmatazz Orfeum, with the bonus of a Bauhaus cover with David J as a guest!

The Moog lie off the beaten path of garage and psych in their Cars and obviously Moog infused take on goth rock, which in its present, more encompassing form of goth music, has incorporated earlier musical styles and thus, is not really rock 'n' roll, but in its early form, goth rock was the inevitable growth off of garage (Bauhaus even covered The Strangeloves classic "Nighttime", found on Nuggets: Volume I), Velvet Underground, and the early glam of Bowie and T.Rex. On their latest release, The Moog stay close to the "rock" part. The opening track "This Is Horror" provides a heavy Moog (of course) intro that reminds me of the little known Tones On Tail classic song "Performance" with its added guitar screeches announcing something big about to happen. It switches into a more '80s dark Britpop song with a strong melody and strong vocals from lead vox Tonyo, but the melodic diversions are a bit surprising. The followup "Panic" is a bit hard to pin down. However, like many of their progenitors such as Bauhaus, the combination of melody, searing guitars, and changing beats that still keep a basic but not constant structure is a sure trademark of the post punk ethos of breaking things down and starting up again.

"You Raised A Vampire" is a take on hunger caused by deprivation. Surprisingly, it's very upbeat and strange in The Moog's own way with its simplicity and faster beat. As one quickly learns with these guys, there's a lot more to them than what one immediately senses. A fast tempo, great, simple chords that seem to speed up, and some underlying "gothiness" to lend energy to your angst. "When I See You" is an immediate reminder of Weezer's "The Sweater Song", but an awful lot more fun with lyrics like "Just want me, just need me, just say that I'm your baby, I haunt you then kill you, When I see you I go, Woohoowhooo!" If anything, you'll want to put the fun back in funeral!

"Lost Day" puts a smile on the face of every late Joy Division and early New Order fan with a bass driven melody and a clean, melodic guitar coupled with a great vocal range that communicates longing and vulnerability not unlike Peter Hook. This is definitely an album highlight. The following "Joyclad Armies" shows off some heavier chops, but The Moog's unique combinations and musical refrains tend to be uncategorizable in the rock milleu, although still engaging and unmistakably theirs. "Sphinx" even gets heavier with a dominating and neverending tribal beat that keeps one listening. "Heart and Soul" is another great listen for fans of post punk Britpop in its Smithslike isolation, but Tonyo's falsetto is both amazing and a little alarming.

As someone with a broad musical background but a strong tendency towards certain definitions of great rock 'n' roll that lie in its r & b simplicity, the occasional infusion of jingly jangly guitar and sometimes, wonderful vocal harmonies but still having a tendency towards a definition of great rock 'n' roll as music that essentially gets one to dance, move, and have fun, The Moog present a challenge to it. They have those elements, but they bring a younger voice (and definitely spirit) with later post punk, dark Britpop, and goth influences that present a picture that's a little more complex than my original focus. The Moog could do a teenage vampire movie soundtrack on their own and hook everyone in that age group in. They're young and thus, could easily be categorized somewhere in the emo camp, but a genuine listen to Razzmatazz Orfeum gives a lot more surprises than a quick and easy classification that most bands their age have and stick to. The music has its simplicity, becomes elaborate, and like great rock 'n' roll, has very little in fillers or dull moments, although they packed a lot into the album that needs an explanation from a broader background. Despite the young appeal, the approach is very firm and never boring or predictable.

The album review would not be complete without a very honorable mention to the b-side from the "You Raised A Vampire" single, a cover of the Bauhaus classic "The Passion of Lovers" with a slight melodic guitar in line with the romanticism of early Mission UK and guest David J's detached vocals thematically fit the song and its original cover of a praying mantis being devoured. In fact, it's better than the version I recently saw Peter Murphy do live. Finally, the artwork on the gold vinyl 7inch by Chris Grimly is incredible.

You Raised a Vampire




Here's a new video for "When I see You" shot in Los Angeles at The Bob Baker Puppet Theater

The Fuzztones: Horny As Hell!

The Fuzztones

Horny As Hell
No Fun Records

As much as I "dig the new breed", leave it to a band that's been around for three decades to rewrite garage rock, make it bigger, louder, and give it a whole lot more soul. Since The Fuzztones are mainly known as a "garage punk" act, adding a horn section, female backing singers, and trading the Vox for a Hammond B3 is pretty ambitious. The opening cover of "Garden of My Mind" by Mickey Finn rearranges the raw sound of the original with super loud horns and a much more exciting vocal treatment from lead vox Rudi Protrudi, but the backing female vocals give it an upbeat, Motown vibe that's got so much soul that it's sinful. Followed up witha Fuzztones staple "Bad News Travels Fast", which grooves and swings heavier than the original recording, and you get a garage/soul/ghoul rockin' heaven that anyone would be hard pressed to even pause for a moment. The blazing saxophone treatment on "Brand New Man" might come as a shock to some devotees, but it's honestly not that radical. Afterall, The Sonics have a sax player, too. Another fascinating high note on Horny as Hell is the added swing in the ? and The Mysterians cover "Girl, You Captivate Me" with a "cooler" but older toned organ from Lana Loveland that retains a psychedelic buildup.

Horny as Hell is full of notables. "Third Time's a Charm" has equal parts fuzz and wailing, almost funky guitar while "Be Forewarned" is thick in deep, dark blues and works to bare Rudi's, soul as an unrivaled, powerful vocalist. The cover of The Moving Sidewalks "99th Floor" is both sweet and dirty with guitar licks. This is followed up with The Pretty Things "Alexander", which lays on the backing female vocals enough to make it sound like classic Motown. Very few can ponder the thought of monster fuzz with blasts of brass, but "Black Lightning Light" pulls it off with a thick, swampy feel then adds eerie keys over it to get every zombie rocker moving. An overall accomplishment of Horny As Hell is the ultimate mixture of soul, fuzz, and garage punk. The songs sometimes sound vintage enough that one can imagine swinging to it, but the added snarls, howls, and overall madness of The Fuzztones fuse the elements to create new standards on songs like "Yeah Babe". It's not a nicely done experiment, but a bold move by one of the few acts good enough to make it incredible. It sounds like vintage soul, psychedelic fuzz, and garage concocted into a tasty, mind and ear blowing trip that will definitely leave one a changed person after they come down.

One can't go without mentioning the "new" version of The Fuzztones most popular song "Ward 81." The vocal introduction, the saxes that just add to the insanity, the backing vocals that add the sadness and desperation more effectively, the crashing drums, and the lyric "Gotta flip a switch, pull out the stitches" that many of us might have used to express ourselves (metaphorically) will leave one screaming them as though they're an angry teenager. "She's Wicked", another staple, will make everyone realize where many of their favorite acts got their inspiration from.

We've all heard of The Fuzztones, but limited press and distribution has placed them in obscurity even though they have over 70 releases to date. For those not familiar with them, Horny as Hell is a fine introduction to the realm of skull and crossed Vox guitars! For you loyal fans already initiated, tune in, turn on, and fuzz out!

Horny as Hell is a available at your finer indie record store. If they don't have it, they need an education, but in that case, you can buy it directly in either vinyl or CD from No Fun Records, a great label out of Detroit, MI with truly worldwide garage rock origins. Other notables who call the label home are Los Peyotes, The Dials, The Avatars and Los Kahunas. They've also got some exciting new acts and releases coming out this year. Although I'm partial to vinyl, the CD version of Horny as Hell has a bonus track "Caught You Red Handed" featuring Mark Lindsay from Paul Revere and The Raiders.


"She's Wicked"



Video courtesy of electricbanana69

The Asteroid No. 4: These Flowers Of Ours

The Asteroid No.4

These Flowers Of Ours
The Committee to Keep Music Evil


The Asteroid No.4 have always been distinctive in their craft. With three guitarists, the band has crafted a melodic noise. Part early Pink Floyd, but jangling, Byrds influenced rock at the same time. Something that causes most to pause is the extra guitar creating a thicker noise and making the songs into heavier psychedelic rock. Although this band is an ever evolving experiment with a stable partnership, one really can't say they pick up where they left off. These Flowers Of Ours is completely new. The opening "My Love" goes from intense space effect to lulling folk rock set on an English countryside, evoking images of a well dressed gentleman and his equally primped partner looking upon the greenery and architecture that seems to become darker with the addition of guitar fuzz and spacey organs that brings on a sense of foreboding. Beautiful, but intense. The following "Let It Go" is a dual jangling guitar song that would put every Rickenbacker fan into a sonic heaven with one guitar chiming while the other one kicks in a similar melody, but the drums + tambourines turn it into a great rock song that's both wonder to the ears as well as the feet. In their true trademark, loud, sharp guitar noise adds a sense of highs and lows and a whole new dimension. This one is rock 'n' roll that one can appreciate on so many levels. Truly amazing.

"Hold On" takes on some grounding with its blues drenched harmonica and foray into Americana. However, one also hears a little bit of "The Porpoise Song" mixed in with slow, heavy Southern rock guitar that gives it a harder, louder edge that lends itself more to delta blues. A special surprise on These Flowers Of Ours is the fuzzed out remake of Rain Parade's "I Look Around". Although retaining the happy psych pop melody of the original, the guitar work leaves one to conclude that it's no mistake, it's a loud garage rock song. "She's All I Need" takes on a pounding shoegazer approach with thicker guitars, but the soft vocal refrains that get punctuated by the heavier instrumentation leave one at a loss. Like the rest of the album, there's a lot here that require multiple listens. "War" takes on a more classic psychedelic/experimental approach that might take one back to a time when people would listen to music on headphones to get the full effect of tape loops and sounds moving in circles, but for some reason, the smoother, calming melodies are still confrontational and challenging.

The title track "Flowers of Ours" is rather disturbing but somehow a smooth image of Velvet Underground's "Sunday Morning" crossed with Simon & Garfunkel's "A Most Peculiar Man", but it has an overall presentation that illuminates the title as a much more accurate portrayal of all that comes with love. A psychedelic album would not be complete without an Eastern influence. "Hei Nah Lah" is their contribution, but it's also a hypnotic chant that brings to mind Native American and maybe Polynesian music too, but the steady stream of guitars and psychedelic noise subtract any idea of it being worldly. Instead, the spoken word ending places it squarely in confusion, leaving one to think more of where it took them. "She Touched The Sky" is also a take on a familiar psychedelic theme, but slide guitar add fuller dimension to its acid sound. The following "All Fall Down" is somewhat of a breather. I thought of The Jesus and Mary Chain at first, but with more tremolo and a beat that picks up into a faster tempo. The closing "Empty Like a Little Child" sounds a perfect 'goodbye' with the repeated lyric "Empty like a little child, you'll realize, my friend, when you're gone." As many ideas that one hears throught These Flowers Of Ours, this idea is an apt summary. The album takes you to a lot of places and presents you with a lot of things. A mystic trip, maybe. But unlike one, a person is confronted so much that they don't know all the places they've been, only that they've been given a sensory overload of a lot of strong ideas. This album is actually hard to get one's head around. However, the lullaby melody of the closing track is almost a way of coming down, which any good trip host makes the effort to not leave us shaking in the wind, confused over everything we've just experienced.

The Asteroid No.4 have allowed their talents to be affected and driven by their multitude of surroundings. The resulting These Flowers Of Ours starts on ground and then shoots the band and its listeners into space through non logical means. It's not spiritual. It's too weird in a good way for that. One could call probably say dark but benevolent forces have integrated themselves into the rational world of music to create a rock experience that is more psychedelic than anything out there, although still a rock experience. In fact, These Flowers Of ours borders on a new genre because it's psychedelic but loud and thought provoking. There's a basis in '60s rock and garage, but with a lot of psychedelic experimentation. That explanation isn't enough because psychedelic music that goes beyond rock reminds one of the late '60s to mid '70s prog rock experiments with concept albums. It's a listening experience, but it rarely rocks you. That was the unfortunate history of psychedelic rock and what became of it. Instead, These Flowers Of ours is a rock album from start to finish because it's confrontational. Great rock 'n' roll does that. It shakes you out of your expectations and forces you to think. You might not love everything you're hearing, but it's causing the cogs in your cerebrum to move and try to figure it all out. But in the end, this album can't be taken apart.

One can't sum them up so easily because we try to fit new things into what we know. These Flowers Of ours? It's quite beautiful, but striking. It's been a task to summarize. '60s punk, garage, acid, folk, deep blues, paisley undergound, Americana, tons of feedback, and jingle jangle thrown into a vat of acid that eats away and exposes parts at random that combine but never blend enough to become homogenous. Call it a bouquet. Call it a dark gift that shatters expectations and will constantly call to you to listen to it. Call it These Flowers Of Ours.

From the albums's liner notes:

The work, of course, came later, and the resulting tome, These Flowers Of Ours, was what was on the group's mind this misty morning as they stared into the fog, while, as always, each cold grey morning, the fog sang right back to them. In the dulcet tones of a male harmony, in the chime of an ancient, knowing Rickenbacker, in a lonely slide guitar, the fog told them: Science alone won't save you. It can't. So to temper it, please accept this treasury of witchcraft and devilry, this humble relic, this partial map of a crumbling continent: These Flowers Of Ours.

Cocktail Slippers "St.Valentine's Day Massacre" In Stores 4/28

The Cocktail Slippers

St. Valentine's Day Massacre
Wicked Cool Records

Straight out of their rousing sets at SXSW, The Cocktail Slippers release their second effort on Wicked Cool Records, but it's anything but sophomoric. Admittedly, there's no shortage of great garage acts from Scandinavia, but St. Valentine's Day Massacre hits a few different chords. "Sentenced to Love" is a tight song with cool keys and a strong beat, but there's something more with the girl group harmonies and the the vocal stretches of "aye yaye yayes" more well known of male vocalists make it a lot of fun. "You Do Run" has a catchy chorus that you can't help thinking of "Da Doo Run Run", but that was probably intentional. It's a straighter song, but again oh, those great harmonies and impressively tight rock beat. The title track "St. Valentine's Day Massacre' sounds better the second time around within the larger context of a full length album and has a groovy organ throughout. The rock guard comes down on songs like "Don't Ever Leave Me" and "I Got A Crush On You, both sweet, full on '60s girl group homages with all the vulnerability of an original, but definitely cooler with some melodic guitars and vintage organ.

"Anything You Want" is probably the best description of The Cocktail Slippers overall sound: A tight, garage rock band with an affinity of 60's girl group pop. Although one could say that combining both is a standard for modern garage rock, other bands have not really embraced the girl group ethos like they do. Instead, other acts that are all or mostly female play rock 'n' roll or garage rock with a female lead or take a more assertive, rock 'n' roll approach. Therefore, The Cocktail Slippers take is pretty refreshing. A standout on the album is "Round and Round" with a mixture of Pat Benatar's energy from some of her earlier work mixed with, you guessed, vocal harmonies.

Although there are countless excellent all female rock and garage acts out there that might rock harder or have deeper soul roots, The Cocktail Slippers might have a leg up in breaking into the mainstream with their girl group derived songs. However, they still rock. Every song on St. Valentine's Day Massacre is proof of that. The songs not only rock, but they're really good. The mix of simpler pop songs with a stronger beat and a really tight sound are pretty unique. Although many are going to fall either more towards the rock side while others might lean towards the pop song side, a lot of people will be happier in the overall cohesiveness of having both. Even the simplicity of the final track "Heard You Got A Thing For Me" with it's simple vocal pop and "Leader Of The Pack" sensibility cuts into a deeper, less pop oriented keyboard solo that's more '60s rock.



Courtesy of Wicked Cool Records

Graham Day & The Gaolers: Triple Distilled

Graham Day & The Gaolers

Triple Distillled
Damaged Goods Records

Many of you are familiar with "The Medway Sound", but let me just start off by saying that Medway is a conglomeration of a bunch of towns in Kent that eventually merged as a result of population growth and sprawl. Oh, what a beautiful name to call it! The conumeration is named after the River Medway, which had a long standing reputation as a waterway for factory runoff until it's cleanup in the last few decades. To call music "The Medway Sound" is ignorant. It would be like combining Manchester and Liverpool into one general area. In fact, those two towns are 35 miles apart from each other, which is less than the distance from Canterbury to Chatham, both of which are considered part of Medway. Geography lesson aside, as much as many Americans need it, Medway rocks. From The Pretty Things to Mickey and The Milkshakes and beyond. The "sound"? NME calls it "music should be immediate." Not much to go on there. One could just say that the bands that are considered to be "The Medway Sound" make garage rock that's equally r & b as it is punk with a raw, freakbeat delivery. A somewhat silent genius of Medway is Graham Day, formerly of The Mighty Caesars, The Prisoners, The Solar Flares, as well as producer for The Len Price 3 and Jarvis Humby. His recent project is Graham Day & The Gaolers with Woggles and Bongolian member Dan Elektro as well as a revolving bass lineup including fellow Woggles axeman Buzz Hagstrom and former Buff Medways Johny Barker. Their new offering Triple Distillled is a collection of agressive rawness and perfect harmonies that leaves one wondering why they haven't heard them.

Although many of us occasionally lament being older, the opening "Glad I'm Not Young" is garage punk fury that both bludgeons the ears and strikes a good chord with "I don't have to identify with anything". Besides, Dan Elektro's drumming is furious and pounding throughout. Another tune for identification is the great vocal harmony backed up "A Better Man" that confronts the conundrum that men have about being complimentary or being honest with "If you're talking shit, then I'll agree." Other notables not only the sitar flecked, persuasive invitation "Pass That Whiskey", but also the catchy, organ infused "Begging You", which is one of the few times any of us will seriously consider singing along to a song with the words "My baby". There's also the apt opening "I"m standing in the rain and I'm really pissed off" on the hard hitting "I Wanna Smoke", one of the louder tracks on an overall collection of superbly loud tracks that could easily be an anthem. Another notable is "Something About You Girl", but we'll take a pause on so we don't give away its secret. With all the work Graham Day has done, the most polite way of telling people not to ask for him to play 'hits' with the slightly jangly, Rolling Stones "Monkey Man" hinted "Just A Song".

Like its title, the sound of Graham Day & The Gaolers can best be summarized as Triple Distilled. That can be exemplified in "If There's One Thing I Can Do" with Graham's smooth vocals and infectious choruses, chunky, raw guitar chords, Dan's drumming, which sounds more like a driving force that punctuates frequently instead of just providing a beat, and Johny's high noted and quite noticable bass. Although Triple Distilled has nothing less than every single song being great, other standouts include the slightly dark surf sound of "Lost Without My Dignity" and the common sense but searing volume of "Go To Sleep", a strong suggestion of exactly what you should do at some point after going out (instead of loitering around at parties).

There's no shortage of well known talent engaging in side projects to fill in the time inbetween their better known bands, but Graham Day & The Gaolers are a fulfillment of so many of our wishes since not only is Graham a legendary talent who's created something with his new band as another outlet to make an important contribution to garage rock, but for Woggles fans, it gives them another slice of perfection to enjoy before the next Woggles album. Additionally, Dan's work on Triple Distilled is so up front that it will give many who already love The Woggles a greater appreciation for his talent.

Damaged Goods Records does not have a USA distribution yet. However, Triple Distilled is more than worth the extra pounds (dollars) layed down. Don't let this one pass you by or you're really going to miss out on a possible favorite new band. Graham Day & The Gaolers are touring Europe this May. We'll also have to work on getting this raw, trashy but melodic garage rock supergroup to broaden their live potential.

"I Wanna Smoke"


Courtesy of retrobambino

"Glad I'm Not Young"


Video courtesy of GrecianFire

Gaolers May tour dates

15th Rennes, Mondo Bizarro
16th TBA
17th Aachen, Musikbunker
18th Münster, Gleis 22
19th Berlin, Cortina Bob
20th Hamburg, Hafenklang
21st Bremen, Towerbar
22nd Antwerpen, Bar Mondial
23rd Bourges, Cosmic Trip Festival