Categories
Pop Sunday

The Successful Failures / James Cotton Mather

The Successful Failures

James Cotton Mather

https://music.thesuccessfulfailures.com/album/james-cotton-mather-2021

Founded a decade and a half ago, The Successful Failures have gone on to become one of the greatest and most respected bands on the indie circuit. Unlike most groups that have been around for such a long period of time, these guys haven’t slacked off and taken a nosedive, but just get better and better with every record they release. And that is certainly quite a complimentary remark, considering how impressive the Trenton, New Jersey band was right from the beginning. 

Specializing in a lethal cocktail of power pop and heartland rock, The Successful Failures not only sound spectacular, but enhance their repertoire in the form of cerebral dialogue that encircles witty historical to educational observations. Here on the band’s latest and ninth studio album, James Cotton Mather, we’re zapped back to nineteenth century Maine and guided through the trials, tribulations, turmoil and tragedies of  James Cotton Mather. Aside from the thrilling theme and cool music, the album is lavishly packaged and includes a color poster of The Successful Failures and a lyric sheet.

Each track on James Cotton Mather, is potent enough to stand alone, but the method in which these songs are sequenced and connected lead to a cohesive presentation. Not intended for lullaby lovers, the album is a turbo-charged drama aimed to activate the adrenaline and indulge in some serious air guitar in the process. The urgent energy of the songs perfectly reflect the verse depicting the mental anguish of the young man as he engages in battles on stormy seas and in dark and spooky forests. 

Flooded with force and fury, yet tempered with layer upon layer of fat hooks and melodies, A Coat For Your Dreams, Let The Power Go Through You, Naval Victories and Freedom Within, are only a quick peek at the ultra- catchy tunes featured on the album. At this point, The Successful Failures have developed their own notable approach, although it’s hard to ignore the double inspiration of the brash bark of The Replacements and the buffed Who-styled chords and rhythms, rimming the material. And of course, there’s also plenty of gritty roots rock moves to be savored. 

Not surprisingly, The Successful Failures have cut yet another thoroughly accomplished album. It is not far-fetched to classify James Cotton Mather a rock opera, and so good are these songs, that you can imagine them being staged on Broadway. 

By Beverly Paterson

Categories
Got Any Singles? Quick Spins

Song Of The Year, Dolph Chaney’s “My Good Twin”

No song better illustrates the joyous intent of the Power Pop genre than Dolph Chaney’s My Good Twin. From his excellent This Is Dolph Chaney Lp, which is full of winners, it’s a short blast of the pop caffeine we all crave! OUTSTANDING!!

D. Pavelich

https://bigstirrecords.bandcamp.com/track/my-good-twin

Categories
Pop Sunday

Chris Church / Limitations of Source Tape

Chris Church

Limitations Of Source Tape (SpyderPop Records/Big Stir Records)

https://bigstirrecords.bandcamp.com/album/limitations-of-source-tape


Early 2021 saw two great labels – SpyderPop and Big Stir – team up as a relaunch imprint. Chris Church is one of the artists receiving a reprise. And here is a look at the Lenoir, North Carolina-based singer, songwriter and multi-varied instrumentalist’s second solo album, Limitations Of Source Tape, which was originally recorded in 2017 and distributed by SpyderPop.

While Chris boasts a background involving a diverse selection of musical styles, Limitations Of Source Tape points the arrow straight towards the guitar-oriented pop rock side of the spectrum. Equipped with a fine voice seated somewhere between the harmonious blush of Todd Rundgren and a rootsy brogue, Chris unleashes his intelligently-composed material with assertiveness and authority.

Certain portions of Limitations Of Source Tape additionally share traits with the likes of Tommy Keene and Michael Penn, placing Chris in very good company indeed.

 Navigated by a tugging rhythm and an equally snaring hook, Bell The Cat stands as one of those ridiculously catchy tunes impossible to shake, whereas Be My Nuisance is glazed with jangling chords and pops with power.

Energetic tempos, tied to solid arrangements and shrewd breaks, command the course on tracks such as Pollyanna’s Going Dark and Fall Into Me, and be sure to also give a listen to Understudy Blues, which charges forth as a tasty piece of hard-rocking ear candy.

No frills and all thrills, Limitations Of Source Tape focuses on strong and melodic songs created from the heart and gut. The crisp and crunchy production of the album provides extra appeal. And speaking of perks – in conjunction with Limitations Of Source Tape – SpyderPop and Big Stir have resurrected Chris Church’s third solo album – Backwards Compatible – which was initially released in 2018 and is highly recommended as well. 

Categories
Boppin'

THE EVERLASTING FIRST: The Easybeats

Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.

This was originally posted as part of a longer piece covering both pop music and comic book characters. It’s separated here for convenience.

Building upon our influences plays a large role in shaping who we are, and what we become. As a kid in the ’60s, and as a teenager in the ’70s, my personality, and my likes and dislikes, were molded in part by the pop culture I absorbed via TV, comic books, movies, and AM radio. A Hard Day’s Night. BatmanThe Monkees. Pulp paperbacks. Jukeboxes. DC ComicsMarvel ComicsGold Key Comics, all kinds comics. WNDR-and WOLF-AM in Syracuse. Throw in some baseball, some random 45s, some more TV (from Gilligan’s Island to The Guns Of Will Sonnett to Star Trek to Supersonic), some books on World War II, some DisneyMarx Brothers, and Jerry Lewis flicks, and some surreptitious glances at Lorrie Menconi and Barbi Benton in Playboy, and you have a partial portrait of the blogger as a young man.

Y’know, it ain’t polite to stare, mister!

And throw in some rock ‘n’ roll magazines, too. I’ve already written at length about the importance of the ’70s tabloid Phonograph Record Magazine, and I will still have more to write about PRM in future posts. I saw an issue of Circus some time in the mid-’70s, and I fell in love with Suzi Quatro when I saw her on the cover of the Rolling Stone. Later on, I’d immerse myself in Trouser PressCreemNew York RockerRock ScenePunkThe Pig Paper, and also a little thing called Goldmine, for which I freelanced for almost twenty years. But the most important single issue of any rock mag I ever read? No contest; that was the February 1978 issue Bomp! magazine: the power pop issue.

The way I read and re-read and re-re-read that issue, it’s a miracle its cover is still attached. I was 18. I was a fan of The BeatlesThe MonkeesThe KinksThe Raspberries, and The Ramones. I’d just seen The Flashcubes for the first time, so I was already a fan of theirs, too. The power pop issue of Bomp! was Heaven-sent, a manifesto for what I already believed, but couldn’t yet articulate. And its pages contained scores of recommendations for more acts I should check out as a nascent power pop acolyte, bands like The Flamin’ Groovies (whom I’d already heard, but needed to hear more), The CreationThe Dwight Twilley Band, and The Nerves; and there was quite a bit of coverage of some band called Big Star, and some group from the ’60s: an Australian band named The Easybeats.

Greg Shaw and Gary Sperrazza!, the auteurs behind Bomp!‘s power pop extravaganza, cited The Easybeats alongside The Kinks and The Who as power pop’s founding fathers. That’s pretty heady company to keep, so I certainly wanted to learn more about The Easybeats. If there were any Easybeats records in print in the U.S. in ’78, I wasn’t aware of them; I don’t think I could even find an Oldies 45 reissue of the group’s lone American hit, “Friday On My Mind.” So Easy Fever had to be deferred for me.

It may seem odd in retrospect that I’d never heard “Friday On My Mind,” but I don’t think I had. I finally heard it in–I think–the summer of ’78. Tip-A-Few, a bar on James Street in Eastwood, specialized in playing oldies while thirsty patrons tipped a few (or, sometimes, more than a few). The DJs at Tip-A-Few were armed with a massive collection of 45s–no need for LPs, because they would only play hit oldies–and I was there with decent frequency, tippin’ a few while requesting singles by Gene Pitney, The Beau BrummelsThe Knickerbockers, and The Fireballs. And, one night, I requested “Friday On My Mind” by The Easybeats.

I liked it, of course, It wasn’t immediately revelatory, but it was catchy rock ‘n’ roll music, and that was fine by me. That fall, I picked up a used copy of David Bowie‘s covers album, Pin Ups, which contained the former Mr. Jones’ take on “Friday On My Mind.” That track was, in fact, the very thing that prompted me to buy my first Bowie album, so yes indeed, thank you, Easybeats! I did eventually score an Oldies 45 of The Easybeats’ “Friday On My Mind,” a record which I grew to love more and more with each easy spin.

It took me a while to expand my Easybeats stash beyond that one 7″ single. In the mid-’80s, Rhino Records‘ The Best Of The Easybeats rewarded me with a glimpse into the true and enduring greatness of The Easybeats. “Friday On My Mind” was their only Stateside hit, and on some days I’ll agree it was their best track. But most days, I’ll dig in my heels, and I’ll insist, Yeah, “Friday On My Mind” is great, but “Sorry” is better!  “Sorry” struck me as the perfect melding of The Monkees and the early Who, so sign me up for a new religion based on those Australian pop gods, The Easybeats. “Good Times.” “Made My Bed (Gonna Lie In It).” “St. Louis.” “She’s So Fine.” “Sorry.” “Friday On My Mind.” Scripture. Chapter. Verse. Easy!

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Boppin'

My Top Ten Power Pop Acts

Jari Mäkeläinen asked me to contribute a sidebar piece to be used in Manifesti, a fanzine published in Finland. The challenge posed to sidebar contributors: name your all-time top ten power pop acts.

In the words of Micky Dolenz: okay, I will.

MY TOP TEN POWER POP ACTS

by Carl Cafarelli

For me, the challenge of naming my all-time top ten power pop acts is in deciding what parameters of power pop I wanna play within. While many view power pop as strictly a post-Beatles phenomenon, I agree with the view expressed by writers Greg Shaw and Gary Sperrazza! in Bomp! magazine’s epic 1978 power pop issue: power pop began in the ’60s. Greg ‘n’ Gary traced power pop back to the early Who, while I go a little bit further back to the Beatles’ “Please Please Me” in 1963. I’ve begun to entertain the notion that power pop predates even that; I don’t think the music of Buddy Hollythe Beach Boys, or the Everly Brothers is quite power pop, but it’s difficult to dismiss the power pop gravitas of some of Eddie Cochran‘s singles, especially “Somethin’ Else” and “Nervous Breakdown.”

But I wouldn’t list the Beatles or the Kinks among my all-time Fave Rave power pop acts, if only because so much of their work falls outside my idea of power pop. The Who were 100 % power pop until Tommy, and really not power pop after that. 

So my power pop Top Ten doesn’t go back to the ’60s. By default, and for different reasons, I wind up agreeing with those who won’t move power pop’s Ground Zero to any date before John, Paul, George, and Ringo settled on separate and individual long and winding roads. I’ve also come to accept the idea that power pop isn’t so much a genre as it an approach, which means relatively few acts are strictly power pop all of the time. With all that said, this list offers ten dynamic rock ‘n’ roll combos I’m comfortable referring to as power pop acts.

THE WHO

Yeah, I was lying. Upon further review, you can’t talk about power pop without talking about the early Who, “I Can’t Explain” through The Who Sell Out. It’s not just because Pete Townshend coined the phrase; it’s because he and his band embodied it. Everything the Who did before Tommy is at least peripheral to power pop, and much of it is the power pop Gospel.

THE FLASHCUBES

Power pop on the radio, where it belongs. The horny singles–“Go All The Way,” “I Wanna Be With You,” “Tonight,” and “Ecstasy”–plus the dreamy “Let’s Pretend” (also covered by the Bay City Rollers) and album track “Play On” combine for a compact summary of the Raspberries’ power pop c.v.

THE RAMONES

A consistently controversial choice for a power pop list, but I side with the Bomp! writers who considered the Ramones an essential part of the power pop story. The first four albums tell the tale: RamonesLeave HomeRocket To Russia, and Road To Ruin, with a little extra oomph provided by the irresistible in-concert document It’s Alive!

BADFINGER

This gets back to the idea that some (many, most) power pop bands aren’t power pop all of the time. Badfinger certainly wasn’t, but then I’ve also gotta get back to that idea of power pop on the radio, where it belongs. “Baby Blue” may be my all-time # 1 favorite track by anybody.

THE ROMANTICS

On the other hand, the Romantics are generally power pop regardless of their intent. It’s their DNA. They tried to make a hard rock album, Strictly Personal, but it came out as hard-rockin’ power pop, and I mean that as a compliment. If you do just one Romantics album, you’ve gotta go with the eponymous debut, which includes “What I Like About You” and “When I Look In Your Eyes.” Their early indie singles are likewise essential, especially “Little White Lies”/”I Can’t Tell You Anything.”

THE GO-GO’S

I continuously waffle on the question of whether or not the Go-Go’s can be considered a power pop act. Their debut album Beauty And The Beat comes close at the very least, and its power remains undiminished forty years on. It’s not just that album’s great singles “We Got The Beat” and “Our Lips Are Sealed,” but also album tracks like “Can’t Stop The World” and “This Town” that make the case on behalf of the Go-Go’s. Add in subsequent tracks from “Vacation” to “Head Over Heels” to “The Whole World Lost Its Head” to “La La Land,” and it’s difficult to deny the truth that this is pop with power.

THE NERVES

Cheating, but I don’t care. The Nerves’ eponymous 1976 EP inspired Blondie with “Hanging On The Telephone” (written by the Nerves’ Jack Lee), but Lee’s fellow Nerves Paul Collins and Peter Case went on to have significant and prevailing impact on power pop with their post-Nerves work in Paul Collins’ Beat and the Plimsouls, respectively.

BIG STAR

Big Star’s story also sprawls, spills, and bleeds beyond power pop territory, and I’m sympathetic to those who claim the group’s records didn’t have the pure power one would expect from power pop. Nonetheless: “Back Of A Car” delivers, and “September Gurls” transcends our silly little labels to assume the description a rock journalist bestowed upon it decades ago: “Innocent, but deadly.” First two albums, # 1 Record and Radio CityThird, however, is most definitely not power pop.

THE SPONGETONES

North Carolina’s phenomenal pop combo the Spongetones have always taken their love of rock and pop and Beatles and British Invasion and channeled it into something unerringly Fab. You know that can’t be bad.

With a limit of ten acts in this exercise, I can’t go on to tell you about the RubinoosPezbandHolly and the Italiansthe Flamin’ Grooviesthe RecordsShoesthe BuzzcocksGeneration XDirty Looksthe Shivversthe ScruffsSorrowsArtful DodgerBlue Ashthe Knack, and dozens more, then and now. Good thing that, in real life, we’re not limited to just ten favorite power pop acts, right? Play on.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey! If you buy from Amazon, consider making your purchases through links at Pop-A-Looza. A portion of your purchase there will go to support Boppin’ (Like The Hip Folks Do). Thinking Amazon? Think Pop-A-Looza.

This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download
Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download

I’m on Twitter @CafarelliCarl.

Categories
Pop Sunday

The Weeklings / In Their Own Write

The Weeklings

In Their Own Write (JEM Records 2021)

http://www.jemrecordings.com/


Live albums are the next best thing to being there, especially when brought to you by a group as great as The Weeklings. Recorded on the stages of the Strand Theater in Lakewood, New Jersey and Daryl’s House in Pawling, New York, In Their Own Write truly does capture the widely adored combo in all their energetic and exciting splendor.

 Because The Weeklings are so adept at composing and playing heritage genres, you would swear on a stack of vinyl that their songs were platinum-plated hit singles from the golden age of pop rock. 
Bobbing with jingling guitars and cheery choruses, Little Tease, Don’t Know, Don’t Care and Little Elvis mimic the mop-topped Liverpool Class of 1963, where Morning, Noon And Night projects a stirring folk rock feel, accompanied by the tremor of a bluesy harmonica. 

Wrapped in rotating rhythms, surrounded by power chords  and drum drills snapping like rubber bands, In The Moment bears a potent Who presence, the chugging roll of 1,000 Miles Away rests firmly on Chuck Berry turf, and the melodic shimmer of Leave Me With My Pride would have been right at home on a Raspberries album.

No Weeklings’ gig is complete without greeting The Beatles. That said, In Their Own Write contains a pair of John Lennon and Paul McCartney covers, but rather than recycling the songs note for note, The Weeklings offer treatments that are far different from the original versions. Both The Word and Baby You’re A Rich Man are shaped of  a stately stance,  marked by weighty arrangements, a measured intensity and harmonica interludes, resulting in very unique and imaginative takes.

The Weeklings flex their stadium rock muscles to maximum momentum on the pulsing Running Away, which climaxes to a whirring jam, as well as the ultra-catchy 3, that bucks and bounces with stabbing hooks, elevated harmonies and a powerful and gritty lead vocal reminiscent of John Waite during his Babys days.

Intended to be experienced to at ear-splitting volume, In Their Own Right will have listeners clapping their hands, stomping their feet and singing along with these nifty tunes. The Weeklings have passed the audition. Here’s to a standing ovation and an encore! 

Categories
Boppin'

BRIGHT LIGHTS IN JAPAN: The Choosers Cover The Flashcubes

The world needs more cover versions of songs originally done by Syracuse’s own power pop powerhouse the Flashcubes. There have been a few, though not many (and not enough). A local band called Eclipse used to cover ‘Cubes bassist Gary Frenay‘s “It’s You Tonight” in live sets in the ’90s; around 1980 or so, Central New York group the James L. Cortland Band was thinking of adding ‘Cubes guitarist Paul Armstrong‘s “I’m Not The Liar” to their set lists, I was living elsewhere by then, so I don’t know if the fabulous Cortlands followed through with that plan; but I was there, at the Firebarn, when they discussed it with PA, and I can vouch for that much as true.

The highest-profile ‘Cubes cover to date was the Slapbacks‘ cool rendition of Gary’s “Make Something Happen” on the 2017 compilation album This Is Rock ‘n’ Roll Radio, Volume 4. You can read all about that here (or as part of a longer account here). While you’re at it, you can still get TIRnRR # 4 as a CD from Kool Kat Musik or as a digital download from Futureman Records. GO!!! This pop gig doesn’t pay for itself, y’know.

And now, Japan’s phenomenal pop combo the Choosers have released a video of their own minty-fresh and fabulous take on “Christi Girl,” the song that served as the Flashcubes’ first single in 1978. Written by ‘Cubes guitarist Arty Lenin, “Christi Girl” is a pure pop ballad that should be a standard by now, and it retains all of its panache in the capable hands of the Choosers. It goes a little something like this:

MORE!! More Flashcubes covers, and more from the Choosers, please. And really, shouldn’t there already be a Flashcubes tribute album by now? Get the Choosers on the phone. We should all have a special place where nobody else can go.

And then, y’know, invite everyone there anyway.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey! If you buy from Amazon, consider making your purchases through links at Pop-A-Looza. A portion of your purchase there will go to support Boppin’ (Like The Hip Folks Do). Thinking Amazon? Think Pop-A-Looza.

This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download
Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download

Categories
Pop-A-Looza TV

The Toms / One Man Girl Parade

Categories
Pop Sunday

Nick Piunti & The Complicated Men / Heart Inside Your Head

Nick Piunti & The Complicated Men

Heart Inside Of Your Head/One Of The Boyz (JEM Records 2021)

https://nickpiuntimusic.bandcamp.com/track/heart-inside-your-head

Although the members of Nick Piunti & The Complicated Men have been mainstays of the Detroit, Michigan music scene for many years, the band itself is a fairly new entity.  Made up of lead singer, songwriter and guitarist Nick Piunti, bassist Jeff Hupp, keyboardist Kevin Darnall and drummer Ron Vensko, the band issued its debut album, Downtime, in 2020.

Five-star reviews were delivered in droves, and the guys are set to return to the spotlight once again in the form of not one, but two smashing singles.  

Despite the name, there is nothing the least bit complicated about the band. In terms of classic power pop, Heart Inside Of Your Head clearly exemplifies such a genre. Nick’s radio-rich vocals sound like a less rootsy version of Tom Petty, while the instrumentation is rock solid and to the point. Navigated by a riveting rhythm, Heart Inside Of Your Head is further layered with muscular melodies and grooving harmonies. Great lyrics as well, which are universally-themed and executed with passion.

 On One Of The Boyz, Nick Piunti & The Complicated Men crank the volume to maximum decibels and turn in a fist-pumping anthem that combines the throbbing beat of Slade with the modliness moves of The Jam and the rebel bite of The Clash. Bouncing with intent, the rousing song contains a shouting chorus impossible not to sing along with. 

Both these singles fully express Nick Piunti & The Complicated Men’s expertise for composing and playing the sort of hook-packed pop rock that refuses to go out of style. 

Categories
Boppin'

The Flamin’ Groovies: The Power Pop Hall of Fame

“1975 will be the year of The Flamin’ Groovies!”–Greg Shaw, Who Put The Bomp magazine
“It wasn’t, but it shoulda been.”–Groovies fans ever since then

It could be argued that no rock ‘n’ roll act was ever so good and simultaneously so ignored as San Francisco’s legendary Flamin’ Groovies. Throughout their long history and many personnel changes, the group was consistently out of step with the times. While contemporaries were properly freaking out and endlessly jamming in a tedious soundtrack to an emerging counterculture, the Groovies drew on unfashionable rock ‘n’ roll roots, alternately purveying good-time jug band music á la The Lovin’ Spoonful and rockin’ the motherlovin’ house down with a ferocity to rival The Rolling Stones and The Stooges. By the time reduced-frills rock started making a comeback in the ’70s, a new incarnation of The Flamin’ Groovies was dressed up in Mod clothing and playing polished power pop as if it were 1965 and the band was some mythic combination of The BeatlesByrdsBeach Boys, and Rolling Stones heading into the studio for a session with Phil Spector. And by the time “jangly pop” became a buzz phrase, The Flamin’ Groovies were so far underground that no amount of excavating could bring them to the surface, let alone to the pop stardom that should have been their divine right.

As it is, The Flamin’ Groovies produced some unforgettable work, including three oft-covered classics: “Slow Death,” “Teenage Head,” and the incomparable, booming “Shake Some Action,” which sounded like the eleventh-hour announcement of pop-rock Armageddon. Groovies fans are generally divided into two camps: those who favor the manic-rockin’ original Groovies fronted by Roy Loney, and those who prefer the pop perfection of the Sire years (1976-79) with Chris Wilson. In both incarnations, guitarist Cyril Jordan and bassist George Alexander kept the flame burning brightly.

It’s the Sire era that puts The Flamin’ Groovies into The Power Pop Hall Of Fame. That’s not a knock against the earlier stuff, much of which is just fantastic, but an acknowledgement that we wouldn’t be talking about the Groovies as a power pop act if judged solely on the basis of “Teenage Head” and “Second Cousin;” as irresistible as those tracks are, they’re closer to the cantankerous grandeur of, say, The Pretty Things than to anything one would call power pop. The Flamin’ Groovies’ three albums for Sire–Shake Some ActionNow, and Jumpin’ In The Night–radiate a catchy cool, combining the bop and swagger of a solid rock ‘n’ roll foundation with a swoon-worthy dedication to the giddy, visceral thrill of pure pop pursuits. Shake Some Action is one of the defining albums of the genre, loaded with exquisite tracks–“I Can’t Hide,” “You Tore Me Down,” “Yes It’s True,” “I’ll Cry Alone,” and the nonpareil title tune–that shimmer with conviction and glory. Now and Jumpin’ In The Night have been less celebrated by pundits, but nonetheless gave the undeserving world such pop gems as “Good Laugh Mun,” “All I Wanted,” “Yes I Am,” “Tell Me Again,” and the magnificent “First Plane Home.”

A different line-up of the Groovies (still including Jordan and Alexander) emerged in the late ’80s, releasing the Rock Juice album in 1992 before returning to the shadows. Eventually, Cyril Jordan and George Alexander reunited with Roy Loney for live gigs as The Flamin’ Groovies. Chris Wilson even joined in for an encore at one show, an event that had once seemed, y’know, really unlikely. Credit to all parties for transcending the accumulated baggage of the past.

Both Jordan and Wilson remain in the current edition of The Flamin’ Groovies, and they released an album called Fantastic Plastic in 2017, 24 years after Rock Juice, 38 years after Jumpin’ In The Night. George Alexander plays on some of the album, but Chris von Sneidern has occupied the bass spot for recent live shows. Is this finally The Year Of The Flamin’ Groovies? No, it is not. And that’s okay. To fans, every year is another year of the Groovies. Let us bust out at full speed, ’cause love is all we need to make it all right.

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You can support this blog by becoming a patron on Patreon: Fund me, baby! 
Our new compilation CD This Is Rock ‘n’ Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin’ pop, starring Pop Co-OpRay PaulCirce Link & Christian NesmithVegas With Randolph Featuring Lannie FlowersThe SlapbacksP. HuxIrene PeñaMichael Oliver & the Sacred Band Featuring Dave MerrittThe RubinoosStepford KnivesThe Grip WeedsPopdudesRonnie DarkThe Flashcubes,Chris von SneidernThe Bottle Kids1.4.5.The SmithereensPaul Collins’ BeatThe Hit SquadThe RulersThe Legal MattersMaura & the Bright LightsLisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here. A digital download version (minus The Smithereens’ track) is also available from Futureman Records.