Category Archives: CD

Supergrass • In It for the Money [3CD]; Super Furry Animals • Rings Around the World [3CD]

Two British bands, both with “super” in their names, and both celebrating the more-or-less 20th or 25th anniversaries of one of their best releases. For SUPERGRASS, In It for the Money is nearly a quarter century old and comes in a remastered version bolstered by B-sides, demos and a live disc featuring most of the album’s tracks. SUPER FURRY ANIMALSRings Around the World is twenty and also comes in remastered form with B-sides and demos, but instead of a live set we get an entire disc of remixes. Both releases are excellent, and at least on the CD versions, overflowing with Britpop goodness.

Supergrass’ sophomore effort was light years ahead of their debut, I Should Coco, which suffered from a clumsy name and a narrow breadth of music (loosely then-considered “punk” but not quite). In It for the Money was a blast when it came out, and I have to admit – though it pains me to do so – I didn’t like it at first. It was my first experience with ’Grass and I thought it sounded either a) derivative [of what, I don’t remember!] or b) everywhere at once. After repeated listenings, though, I came around. I guess I figured out what they were going for and its power/Brit pop vibe was both focused and all over the place… in a good way. Harder rockers like the title track, “Richard III,” “Tonight” and others sat alongside “Late in the Day” and “It’s Not Me” and altogether obliterated the probably derogatory punk designation that Supergrass initially earned. They could have collectively choked with such a hold around their necks, but the band cockily flipped off the critics and delivered a downright classic alternative rock record.

For Super Furry Animals, their first major label outing benefited from a much larger budget and near unlimited time in a big league studio. Rings Around the World was more expansive than anything they’d done before, a little more electronic and a little more pop simultaneously. The lengthy album came with power-poppy tunes like the title track, nu-pop/soul like “Juxtaposed With U,” and the ballad pop of “It’s Not the End of the World.” It may now seem like a pretty lengthy album (it was released when vinyl was nearly dead) but it’s all very good so it’s really a moot point. The major label budget gave the band a chance to not only record nearly three single LPs’ worth of material, but to actually produce a 5.1 surround mix of the entire album and videos to go with it. (Sadly, you don’t get a disc with that material in this set but they can be had via the internet.) They also had a host of remixes done and most of those are here. I wouldn’t say those remixes are must-haves but they do give a good idea of what kinds of ideas and sounds the Furries’ heads were swimming in at the time.

Both Supergrass and Super Furry Animals’ deluxe CD sets are loaded with great material, and both are also available on vinyl – and in various configurations including colored vinyl variants, versions with bonus discs, etc. I opted for the compact disc versions of these in order to get all the goodies (and I already have one of them on vinyl anyway) and maximize my expenditure, but you may want to go the wax route if you’re in it for the vinyl. Whichever way you go, you’ll be investing in releases that represent absolutely the best stuff both bands ever did.
– Marsh Gooch

4/5 (Supergrass, BMG/Echo BMGCAT506CDX; Super Furry Animals, BMG BMGCAT510DCD; 2021)

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The Gun Club • Fire of Love [CD, LP]

When Blixa Sounds reissued Miami late last year, I thought to myself, “Now if they could just put out THE GUN CLUB’s Fire of Love, that would kick ass.” Well, they have and it does. Despite being very won over by their sophomore release upon re-release (my review is here), it was and is their 1981 debut that really cemented Jeffrey Lee Pierce’s place in the L.A. punk rock hall of fame – and on my own Desert Island Discs list. First released on Slash Records’ Ruby label, Fire of Love was a psychobilly/blues/punk hybrid that fit equally into all three of those subgenres and yet practically requires a category of its own. (Apparently some purists don’t think it belongs in “punk” at all, but I don’t know where else you’d put it.)

If there’s anything that demotes this album to less-than-essential (and that’s barely), it would probably be Pierce’s sometimes racist lyrics. I don’t think recounting the contexts in which he uses the “n word” would get him off the hook. And I’m not even sure you can make an argument like “it’s not Pierce, it’s the narrator who is racist,” since the singer/lyricist inhabits that role so solidly and uniquely that you can’t really separate him from him. So, forty years later, Fire of Love is still so goddamned good that I just try not to cringe too much when JLP goes down that road. Most of the time the lyrics and music are so good, so evocative of something very outside of and different from what you’d expect a middle class guy from Southern California to come up with, that it’s not hard to do. “Sex Beat,” “She’s Like Heroin to Me,” “For the Love of Ivy” – their punky gothic vibe comes through loud and clear. The band’s guitar, bass and drums form an incinerator that just burns, pushing Pierce’s vocals up into the air like a brushfire out of control. Whether you like your indie rock on the bluesy side, on the Cramps-y side, or sunny side down, The Gun Club’s Fire of Love does not disappoint.

Blixa Sounds’ new reissue is a 2CD or 2LP set that gives you the original 11-track album on one disc and an unreleased live show (recorded in ’81 at L.A.’s Club 88) on the other. There are also a dozen demos and alternate takes (which appear on disc one of the CD version and as downloads in the vinyl set), and they’re nearly as good as the album itself. In fact, you get the title track as an alternate take, since it didn’t actually make the album and was held over (in a different recording) for Miami in 1982. Sound-wise, this CD reissue sounds quite good, perhaps a bit meatier than Slash’s CD version. My vinyl copy is not an original on Ruby/Slash but Porterhouse’s 2014 “prime” cut (which is better than the previous copy I had on Spain’s Munster Records) (and may be better than the original Ruby vinyl I had once upon a time) – I don’t have the new vinyl to give you that score. But I can tell you this: you should own this album, whether on vinyl or CD (and why not both?!), so you oughta give Fire of Love a spin while it’s still fresh on your mind. Not that it will ever go stale, mind you… – Marsh Gooch

5/5 (Blixa Sounds ETA 874, 2021)

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The Rubinoos • The CBS Tapes [CD, LP]

Every once in awhile a release comes along that makes me yearn for the “carefree” days of my youth… When Mike C. and I decided to start our own band, aged 14, hardly knowing how to play our instruments – let alone knowing, for instance, that you needed a separate amplifier for the microphones. You know, just because bass player Jerry P.’s old Ampeg bass amp had 4 inputs on it didn’t mean that you could plug his bass, my guitar, and two high impedance mics (thank you, Radio Shack) into it and get anything decent-sounding. Before the internet – youngsters, listen up! – you either had to have older brothers who could show you the ropes, or you had to hope to catch enough of your favorite band’s one song on Don Kirshner’s Rock Concert to see what their set-up looked like. And that didn’t mean you were gonna understand just what was going on up there onstage. There were no websites where you could find the information, let alone any old fashioned books that had it. You just had to figure it out yourself.

THE RUBINOOS’ The CBS Tapes is a 1976 warts ’n’ all set that the very young band ran through one afternoon while getting ready to record their debut, eponymous album (released in ’77 on Beserkely). It wasn’t exactly their first band (for most of ’em) but they were very young, and the enthusiasm – as well as their advanced chops – really shows. Clearly not expecting that this recording was ever going to be anything except “hey boys, why don’t you run through a bunch of songs and get a feel for playing together in the studio,” the Rubinoos are hamming it up, playing goofy covers, some of their own tunes, and generally just having a great time, making goofy announcements “to the crowd” between songs and just making each other laugh. Just like band practice used to be before we decided we ought to try and get a bit serious.

Recorded at CBS Studios in San Francisco by producer/engineer Glen Kolotkin, it was basically a “let the tape roll” affair, with no overdubs, second takes or anything like that. Like the way we’d stuff a blank cassette into the Realistic tape recorder (thanks again, Radio Shack!) and just run through everything we thought we could get all the way through. Here, The Rubinoos – later to be exalted as princes of power pop – open with their own “All Excited” and then plow straight on into The Archies’ “Sugar Sugar,” a definite guilty pleasure for many of us and an obvious but great choice in ironic covers. But don’t think that’s it, ’cause later in the set we get treated to a real sarcastic but sincere version of The DeFranco Family’s big one, “Heartbeat – It’s a Love Beat.” Yes, and I will admit to having bought this 7″ as an eleven year old. This version certainly rocks WAY harder than that, as do their two Beatles covers, “She Loves You” and “I Want to Hold Your Hand.” Despite the guys’ lighthearted jokes and youthful cursing, the band really do like the “corny” covers they’re doing. You can tell because they deliver the same exuberance when doing their own songs, like the punky “I Want Her So Bad” and the unclear-what-its-title-means “Nooshna Kavolta.” Before the tape ends you get treated to King Curtis, The Ventures, The Meters and Jonathan Richman (“Government Center”). None of the songs are played perfect. But all of them are delivered so well and with so much glee that you just wish you’d been there sitting on the studio’s overstuffed, over-used sofa sucking on a Pepsi and just diggin’ what The Rubinoos were puttin’ down.

And to think this is the first record by them I’ve ever owned! Man, I gotta get to work on building up my Rubinoos collection. – Marsh Gooch

5/5 (YepRoc YEP-2788, 2021)

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Mumps • Rock & Roll This, Rock & Roll That: Best Case Scenario, You’ve Got Mumps [CD, LP]

What kinda band do you get when you mix (more or less) equal parts Sparks, Bowie, New York Dolls, Skafish and Dickies? Before you answer that, let me just say that I am aware that many will accuse me of committing the oldest “lazy rock journalist” cliché in the book by starting this review that way, and that I honestly don’t care.* Answer: MUMPS. Rock & Roll This, Rock & Roll That: Best Case Scenario, You’ve Got Mumps is the third compilation of tracks by the band, and considering I had barely heard of them before word of this comp got to me, you could say “third time’s a charm” in terms of me finally giving this group a spin. That is, if you’re prone to carelessly uttering clichés…

Well, what we have in the case of the Mumps is a mid ’70s New York rock band that came up via the CBGBs scene, made up of a handful of guys who got together in Mrs. Loud’s equal opportunity garage and took a shot at creating their own kind of music. Their lead singer, Lance Loud, had come out as gay on national television in 1973 during an episode of the PBS documentary series, An American Family. (This was before people got paid to appear on “reality TV” and pretty unheard of at the time, kids.) At the same time he was starting a band, sometimes called Loud, which eventually morphed into Mumps. There’s a lot of interesting history and plenty of great anecdotes about their exploits in the liner notes here, but suffice to say that though the band was clearly one of the better bands on the scene, they are – today – certainly way less known than Talking Heads, Ramones, Blondie, Television, et. al. Regardless of their actual popularity, Mumps deserves to be heard.

As you may remember from the opening of this review (oh, so long ago), they mix rock, punk, musical theater and more in a Rocky Horror Picture Show meets new wave combo that must have been pretty cool to witness in-person. In fact, it’s likely that the songs here that seem a bit over-the-top in the drama sweepstakes were probably quite exciting on stage. Think of Queen, if that band were more lighthearted, yet socially-conscious and a little less polished. Or maybe Sparks without the brother. (You pick which one…) With lyrics like “I wish I could’ve seen your face before the accident” – just one of the severely smart-assed variety – you can bet that these guys, or at least Lance Loud, were probably the clowns in their class. And if you weren’t of the “I’d like to punch that guy in the face” persuasion then you probably would’ve dug having any of the Mumps in at least your most-boring junior high period. The LP version of Rock & Roll This… is a 14-track affair, while the CD adds 9 more (all very worthwhile), including two never-before-released Loud tracks. Releases like this ought to give you reassurance that, just when you think you’ve heard every band you should have, there’s always the likelihood of you catching something as bad – and by that, I mean good – as the Mumps. – Marsh Gooch

4/5 (Omnivore OVCD-417, 2021)

* What kind of rock critic do you get when you mix equal parts “I don’t care what you think” and “I sincerely hope you think I’m a genius”? (Picture me using both hands to point back at myself) THIS GUY!

 

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Alex Chilton & Hi Rhythm Section • Boogie Shoes: Live on Beale Street [CD, LP]

Chillin’ to Chilton… what could be more enjoyable as late spring heads into summer? I nearly forgot about this one – it slipped down between the seat and the transmission hump and sat there for over a month before I thought, “Isn’t that new ALEX CHILTON & HI RHYTHM SECTION thing coming out soon?” Sure enough, it’s out now. Boogie Shoes: Live on Beale Street is the kind of short ’n’ snappy one-set show that you want to listen to over and over again. Chilton and his one-off backing band – made up of some of Memphis’s most esteemed musicians – got together for one benefit show in 1999 and luckily someone had the forethought to record it for future enjoyment.

Fact is, Chilton and band had not one rehearsal prior to this performance and you’d never notice it: these guys are the right amount of tight for a live set, never mechanical, yet never too loosey goosey either. The ten songs range from covers of Little Richard and Chuck Berry to Jimmy Reed, The Supremes and even K.C. & The Sunshine Band (the title track). With no missteps in song choice, this ten-song, 45 minute disc keeps the boogie factor high and the “ugh” factor to a bare minimum. Sure, I’d have brought the guitar up in the mix some. I might have asked “Hubie” Mitchell to use some more authentic sounding keyboard sounds (the organ’s not as organic as I’d like it). Maybe I would have had the guys play “Lucille” a whole step lower, as it’s just about out of Alex’s range. Finally, I’d wish that closer “Trying to Live My Life Without You” didn’t have to be faded out so early. But remember: I’m a critic. I’m supposed to point out the things that stand out, good and bad. Or in this case, neither good nor bad just noticeable. But what’s most noticeable is the fun vibe of this set. Besides the obvious good vibes people got from performing at or attending a benefit concert for Memphis promoter Fred Ford, a good time must’ve been had by all if the sound of this release is any indication. And at this late date, in this particular context, what it sounds like and whether any of us would listen to it more than once is of utmost importance.

When two disparate legends come together it’s not necessarily gonna be a success. But – at least this one time – getting rocker Chilton and Hi Records’ ace rhythm and horn sections to don their boogie shoes together was as close to a perfect fit as you could ask for. – Marsh Gooch

3.5/5 (Omnivore Recordings OVCD-420, 2021)

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The Palace Guard • All Night Long: An Anthology 1965-1967 [CD]

Given the legend that surrounds Emitt Rhodes – he being considered a pop genius a la Alex Chilton or Harry Nilsson – one would expect THE PALACE GUARD to be a necessary addition to the psych/garage pop canon. Rhodes, after all, formed The Merry-Go-Round (“Live,” “Time Will Show the Wiser,” covered by Bangles and Fairport Convention, respectively) and went on to make an acclaimed platter eponymously titled Emitt Rhodes (1970) when that band broke up. After Rhodes’ ’73 LP, Farewell to Paradise, failed to engage the pop public, he basically bid his own farewell and ceased releasing longplayers. Eventually, in 2016, Rhodes put out a followup to Paradise, Rainbow Ends, that garnered the same kind of critical praise that his self-titled ’70 LP did. Unfortunately, Rhodes passed away last year in his sleep.

But let’s get back to this CD, All Night Long, which gathers all six of The Palace Guard’s singles. The band was formed in Hawthorne, California by brothers Don, John and David Beaudoin, bass guitarist Rick Moser and Rhodes on drums. Their half dozen singles (so make that twelve songs in total) make up their discography, and all of them are pretty hard to find. Omnivore has brought us this spiffy collection and, while it has its strong points, it’s not what I would call a must-have. Nuggets fans, West Coast pop fanatics, and those who just plain favor obscure 45s will enjoy moments of this short disc. Their second single, 1965’s “A Girl You Can Depend On,” is pretty cool, in a semi-minor-key way, and their version of “Saturday’s Child” (released about the same time as The Monkees’ superior take) is worth a few listens, but the remaining songs are fairly forgettable. If it wasn’t for the fact that Emitt Rhodes emerged from this band – in which he played drums only and hadn’t gotten to demonstrate his later legendary one-man-band talent – they’d probably be remembered by only the most knowledgeable and esoteric pop-aholics. (You know, the kind of guys that would know, for instance, that TV’s Don Grady [Robbie on My Three Sons] sang lead on their final, 1966 single “Little People”.)

The thing is, there are plenty of pop fans who will eat up this release and there’s plenty of room for The Palace Guard in their diet. There’ll always be those of us who are interested in these obscure records and will be willing to give them a spin. All Night Long – save for its liner notes, oddly narrated by bassist Moser in third-person – is worthy of a place on the Rhodes scholar’s shelf. – Marsh Gooch

2.5/5 (Omnivore Recordings OVCD-424, 2021)

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The Cranberries • No Need to Argue [CD]

Review originally published in The Rocket, Seattle, December 1994 and posted on my old blog, Skratchdisc, on 3/31//2010 – now posted here for your edification, entertainment and/or annoyance.

Yes, that’s right. There’s no need to argue: THE CRANBERRIES are as bad as their name. For one thing, lead singer Dolores O’Riordan goes out of her way to sing every song as if she’s yearning for something. Can someone yearn that much? And for what? Her caterwauling envelops the entire album, making the whole thing rather difficult to hear. It makes me want to pee. I mean, she spends so much time trying to uniquely sing every syllable, she’s barely singing anything understandable at all. If you want to hear lyrics rendered as gibberish, you might as well go put on Cocteau Twins! At least they’re good, and their lyrics aren’t supposed to mean anything!

But, let’s assume you can get past her voice (i.e., you like it). Musically, No Need to Argue is an amalgam of alternative rock styles (including nifty grunge-style guitar on “Zombie”) that we’ve all heard at least one too many times. Now, I know that doesn’t necessarily make it a bad album (hell, I liked Urge Overkill’s Saturation). But it’s basically the same album as their debut from last year, Everybody Else Is Doing It, So Why Can’t We? Maybe they’re answering the question of their first album’s title with No Need to Argue. But, as your mother probably told you any number of times, just because everybody’s jumping off a cliff doesn’t mean you have to, too. – Marsh Gooch

[no stars given in original review] (Island 314-524 050-2, 1994)

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Bonnie Hayes with the Wild Combo • Good Clean Fun [LP]

The following review first appeared in my old music blog, Skratchdisc, some years ago. To preface this repost, BONNIE HAYES with the WILD COMBO’s Good Clean Fun has been reissued by Blixa Sounds in an expanded CD package with the original album, a 6-song EP, an early Hayes group’s single and some great new notes by Bonnie herself. The mastering job is nice ’n’ peppy, allowing this poppy early ’80s new wave classic to shine on into the 2020s. Here’s what I said a few years ago when I found a used copy in my local vinyl emporium.

Once again, on one of my weekly “just lookin’” ventures, I found a couple of great deals. The first one was a Mobile Fidelity half-speed master of a VERY PROMINENT ’70S ROCK ALBUM (name withheld to protect me from those who might make fun), which had a real used cover but the record was PERFECT. And it was only 99¢! The second was what this review’s about, Bonnie Hayes with the Wild Combo’s 1982 new wave gem, Good Clean Fun.

I first ran into this record during my rookie year as a college radio DJ at Seattle’s legendary KCMU. (It is now the world-renowned KEXP, but don’t get me started…!) My freshman year at the University of Washington, 1981/82 was a year that was beyond compare for yours truly. During the summer of ’81 a friend told me about this low-watt radio station where they played all kinds of “weird new wave”—this is where I first heard The B-52’s, XTC, Devo, you name it. I tuned in the station whenever it would come in (at that time it was only 10 watts), and upon my first week of school at the UW, I promptly went to the station to find out what it was all about. It was then that I learned that almost anyone could get a show, and met a slew of like minded students (like my buds Mike Fuller and Andy Taylor, for two) who enjoyed DJing and playing whatever records you wanted. I got my first show in November (a Friday night from 11 pm to 2 am), and eventually this puny little station became a major part of my life. I discovered more great music in the initial years of DJing there than I have in all the years since! Sometime in 1982 Slash Records, the Los Angeles-based punk rock label, put out Bonnie Hayes’s LP, and we played the hell out of it. Sure, some of the jocks thought it was pretty lightweight, and if you have no history with the girl groups of the ’60s, you might, too, but this record really was good clean fun. And this from the label that had already put out X’s first two albums, The Dream Syndicate and The Gun Club! Slash had punk cred like no one else.

Well, anyway, this is about as pure an ’80s new wave record as you can get, with percolating organs and crunchy guitars and a nice female voice singing of “Shelly’s Boyfriend,” “Girls Like Me,” and “Raylene.” And to think I went decades without this record, yesterday I found it in the 99¢ bin! Sleeve in good shape, record looked good. And like the record mentioned way above, it turned out to be in great shape. So, here’s to Bonnie Hayes and her Wild Combo allowing me to relive some memories nearly 30 years old. I’ll have to check out what she’s up to now... – Marsh Gooch

4/5 (Blixa Sounds ETA 859, 2020) (bonniehayes.com)

 

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Edgar Jones • The Way It Is: 25 Years of Solo Adventures [3CD]

You may not know who EDGAR JONES is. You may not know him by the most well-known of his pseudonyms, Edgar Summertyme, either. Hell, you might not even know him from his superb early ’90s UK garage trio, The Stairs. So three CDs of a guy you don’t even know might seem like way more than you’d want to sit through just to figure him out. But Jones – a multi-instrumentalist who tends to play bass guitar when playing for people like Paul Weller, Johnny Marr or The La’s – has so many sides to him that The Way It Is only begins to give you an accurate picture of this unique musician.

Starting back from where most of us know him, Jones/Summertyme was the bassist and lead singer of The Stairs, who came along from Liverpool about the same time as The La’s. Both bands were signed to a hip indie label called Go! Discs (that also featured Billy Bragg, The Housemartins and Paul Weller on its roster). The Stairs was a real compelling throwback to UK psychedelia, using fuzzed-out guitars, loud amps and amped up arrangements that gave songs like “Weed Bus” and “Right in the Back of Your Mind” just enough of a modern twist that the youngsters of the ’90s probably had no idea that Summertyme and his mates were both paying tribute to and parodying the great indie rock of 25 years earlier. Jones/Summertyme sang in a growlly, animated voice that sounded just exaggerated enough to keep some people from taking his band seriously. Yet, if you had a deep enough knowledge of Sixties rock (see how I patted myself on the back there?) you “got it,” and The Stairs’ supreme and supremely overlooked Mexican R’n’B was as overplayed as “that’s what she said.” (Forget about the fact that the UK version of that compact disc had four or five more songs on it than the US one.*)

After The Stairs wound down, Jones went on to dip his fingers into all kinds of different concoctions. Whether he was fronting a soul/R&B combo, another garage unit or a smooth pop group (even a jump blues thang!), he brought a distinct Edgar vibe to his music. The Way It Is tries to distill all of this into a three disc anthology that at once does a great job and at the same time comes up short. How? Well, this set features 70 tracks! It’s near impossible to digest it all in one go, especially when you consider there are so many genres of rock represented that you can’t possibly keep track of where it starts, where it gets to, and where it ends up. That being said, if you like The Stairs, there’s a fair bunch of tracks to keep you goin’, especially those by his groups The Big Kids, The Joneses and The Edgar Jones Free Peace Thing, which grabbed that ’60s garage thing and added some trippy soul a la “Grazing in the Grass” (either Hugh Masakela’s or Friends Of Distinction’s arrangements). Noel Gallagher liked them so much he had them open for Oasis on their 2009 European tour. The tracks that originally appeared under Jones’ own name are more soul- or pop-inspired and may not float your boat, but then again: You can put on The Way It Is, any disc you like, and it’ll feel like you stumbled upon some free-form radio station from another decade where the DJ’s really killin’ it. I mean, killin’ it! – Marsh Gooch

3.5/5 (Cherry Red CDTRED805, 2021)

(* Cherry Red put out a 3CD reissue a couple years ago that is essential for Stairs fans. How I didn’t get around to reviewing it, I still can’t recall…)

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Pop-O-Pies • The White EP – Deluxe Edition [CD]

These days you gotta expect that anything being shipped to you is gonna take extra time to show up. In fact, it might not make it to you at all. Such was the case for our review copy of POP-O-PIES’ very first reissue CD, a reissue of The White EP, the band’s debut recording from 1982. First released on San Francisco indie label 415 Records, the new reissue label Liberation Hall has taken the original 6-song vinyl and put it out on compact disc with an additional seven songs. The kindly promo people guaranteed NuDisc a copy when I sent a salivating email requesting one, promising a sure positive review because “I played the shit out of it on my college radio station,” and I meant that. Then it didn’t show up. I enquired. They sent another one. No show. (It was around the holidays…) I enquired again and THIS TIME, lo-and-behold, it did – along with another 415 reissue CD.

Well, it was pretty much worth the wait and heartache. Okay, there wasn’t really any heartache involved. You see, I still have my original vinyl copy – in fact, I celebrate the entire Pop-O-Pies catalog – and I pretty much know it by heart. I wish I could say that this CD is as absolutely effin’ awesome as I hoped it would be, but I can’t. BUT… it’s close! Pop-O-Pies was/is the brainchild of Joe (Callahan) Pop-O-Pie, a smart ass from the Bay Area who came up with the idea of taking the Grateful Dead’s “Truckin’” and re-styling it as a hardcore punk song. The further gimmick was that that cover version would be the only song the Pop-O-Pies would play. Supposedly that was so, at least for awhile. But eventually Joe & Co. came up with some originals, including the slow, pseudo-’60s ballad “The Catholics Are Attacking,“ all about that church and its hypocrisy, and further punkers like “Anna Ripped Me Off” and “Timothy Leary Lives,” which I love for its “guitar solo” that is actually just someone (Joe?) singing “neer nuh neer nuh neer” as if he’s the guitar. Genius! My 19-year old brain couldn’t get enough of this thing when it first came out, and I played it so much on KCMU that I’m sure our station music director must have passed a note to me about maybe giving some other artists some attention. Anyway, 415 put out a 12″ EP of the band’s stuff (which featured TWO versions of “Truckin’,” including a rap version that is quite funny [still]). The band went on to do a few more foot-long EPs, though on other labels, and eventually they spun out as some of the members had also been playing with other bands that became much more popular (Faith No More, Mr. Bungle). And so the Pies were done.

I said earlier that this Pop-O-Pies CD was “pretty much worth the wait,” and that’s because it’s lacking the kind of bonus tracks and packaging that I’d expect after nearly 40 years! Yes, there are seven extra tracks here but four of them sound identical to tracks that appeared on the band’s sophomore release (Joe’s Second Record, 1984, which had only six songs). The others are pretty good, including “Slow & Ignorant” (recorded in ’93) and a trippy thing called “Lenny in Wonderland.” The final bonus, “A Political Song (The Hip Version),” is short and unremarkable. Packaging-wise, it’s your standard CD that comes in a jewel case with a typical insert, lacking lots of info (like: ARE those four songs from Joe’s Second Record actually the same recordings that are on Joe’s second record?), no unpublished photos, and a tag on the front cover noting “featuring members of” bands that takes up almost as much room as the Pop-O-Pies logo itself. I mean: Does the record label think they’ll move more of these CDs by touting other bands, when, let’s face it, your run-of-the-mill Cars or Tubes fan is probably not gonna take a chance on this release unless they already know what it is? I’d doubt it.

Yet: Pop-O-Pies finally makes it to the 21st Century! I feel tingly all over, like a tomato. – Marsh Gooch

3/5 (for the reissue), 5/5 (for the White EP itself) (Liberation Hall LIB-5027, 2021)

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