The Rabies - 'Adderall Girl' b/w 'You're the Glue' (Ltd. 7")

I try not to focus on any particular musical genre on this blog, though regular readers, (if indeed there are any!), will know that pysch, garage, baroque-pop, acid-folk and soul are perennially pleasing for me. But Harmonic Distortion is really a place where anything goes. It's been a mindset that has broadened my horizons immensely. Be it Nordic jazz, Italian doom metal or experimental electronica, I try and cover it all. 

When I'm in need of an emotional lift there's one type of music that never fails to lift the spirits. It's a genre I've not written about much on here but then proportional representation is not really my thing. I'm talking about powerpop. Highly melodic songs, played in a forthright manner by a traditional four-piece band set up. Big on harmonies, guitar hooks, propulsive bass and drums. It's music that puts a smile on my face and a spring in my step. Recent powerpop artists whose work I've enjoyed include Nick Piunti and ANC.

The heyday for powerpop was in the late '70s into the early '80s, often blurring the boundaries with punk and new-wave. A time when short sharp songs, were back in fashion along with skinny ties. The economy of '60s Brit-invasion sounds had started to sound fresh and inspirational again after the bloated excess of mid-'70s rock. I don't claim to be an expert on first-wave powerpop, far from it, so it's always a pleasure to be pointed towards fine examples. I was recently contacted through my Twitter page by George Faulkner, owner of Bolt Records and member of a New York-based band called The Rabies, who were active in the early '80s. The four original members have recently reconvened to record a new single which I highly recommend. 'Adderall Girl' b/w 'You're The Glue' is available as a traditional 7” vinyl single or as a stream/download. It hits the spot. 'Adderall Girl' is a pure distillation of boy-meets-girl rock 'n' roll goodness. Its equally enjoyable B-side 'You're the Glue' clocks in at under two minutes but does what it has to do. A smash and grab lesson in melodic sensibility. Here's a little background on the band from George himself...

Not the Canadian pop Rabies, Czech hardcore Rabies, nor Chinese speed metal Rabies;  this is the Reagan-era New Yorkers, 38 years after their last single. They get called punk but were more new wave in '81 & '82. 

The Rabies released two 7” records in 1982 – (My Girl’s a) Hologram b/w Criminal, and a four-song EP called Labor Day – and between 1981 and 1983 they played anywhere they could in the Northeast from CBGBs to the college circuit (and everywhere in-between). It was a great run, but met a predictable demise. By '83 everything in music had changed and The Rabies followed a different path. But, in 2020 they decided to get back together and record a third single.

The four original Rabies - Torin, Kevin, George, and John - recorded this new single in Brooklyn with Producer Bryce Goggin (Pavement, Ramones, Lemonheads, Sebadoh). In talking about this new project, Rabies guitarist and songwriter Torin Alter said it best: “We made a left turn after Hologram and followed that wrong turn for 38 years. Until now.”

For more info: boltrecordsinfo at gmail.com

The Rabies, 2020

The Rabies, 1982

 

 

The Innocents - Teardrop Kiss

Aussie powerpop legends back with a new LP!

We love a bit of powerpop round our house so it's not surprising that this new album from The Innocents has had some heavy rotation on our stereo of late. The band have been Tasmania's leading exponents of the genre for some 40 years, and their talent showing no signs of diminishing.

Originally formed as Beathoven in 1975, the band soon changed their name to The Innocents and released a string of powerpop gems that chimed with skinny tie era. The revitalised band gained a new lease of life in the early noughties when a compilation, The No Hit Wonders From Down Under (2002) quickly sold out of its limited run. Their new album Teardrop Kiss has all the hallmarks of their best work – punchy, melodic songs that straddle the emotional line between happy and sad, lyrics that somehow manage to be both specific and universal, all backed with guitar crunch, uptempo beats, three-part harmonies and iced with enough variety and flourishes to make listening in one sitting such a pleasurable breeze.

The old adage about not judging a book by its cover doesn't apply in this case. The album's cover is reminiscent of Roy Lichtenstein's comic book style art - eye-catching, bright, immediate, seemingly simple yet with true depth. All qualities shared by the music.

Another reason for The Innocents' new lease of life came via their inclusion on the bills at David Bash's small but perfectly formed International Pop Overthrow festivals. For those unfamiliar with the IPOs, they take place yearly at various (mainly US) cities with a strong musical heritage, as well as ventures over to Europe recently even such unlikely places as Tel Aviv. I've been to a couple of these when they've taken place at Liverpool's Cavern Club. If you can make it along to any I highly recommend you do. Even more so if The Innocents are playing. And if you can't get along to one, do try and track down this CD

The Innocents are -

Rob Smith – Vocals / Guitar

Greg Cracknall – Vocals / Bass

Charles Touber – Vocals / Rhythm Guitar

Click here for The Innocents' website.

Click here for The Innocents on Facebook.

The Beckies - The Beckies

(This review first appeared in issue 52 of Shindig! magazine)

 

Hampered on its initial 1976 release by a refusal to tour and the feeling of it being a major label take on the new wave zeitgeist, this sole eponymous album has aged well. Marked by its warmth and pure joy of (power) pop, it may have been at odds with the prevailing AOR professionalism of the era but forty years on reveals itself as a lost gem.

Founding member of The Left Banke, Michael Brown had a genius knack for delicate melodies and classical influenced arrangements which sat well with the power pop brio of his newly found bandmates, who'd learned their craft in Chessmann Square, a journeyman group founded on a love of harmony-rich British Invasion bands.

The Beckies would turn out to be Brown's last release on a major label. This first time on CD reissue is a fitting tribute to the man, whose talents gave so much and deserved more in return.