Pop Songs and Anarchy

the Black and Whites

2009-10-21T14:05:00.000-07:00

Oxford, Mississippi's red-neck Ramones. Talbot Adams and crew cut two great 45's and an outstanding s/t LP before splitting up without a word. They walked the line of simple retard pop and wild rock and roll. Like inbred cousins that just may pet the mouse to death, they were gentle and aggressive, sweet and frantic; they were perfect.

But before the band was actually even a band, bassist Talbot recorded a batch of songs solo. Dubbing all of the parts himself many of the songs would be rerecorded once guitarist Johnny Valiant and drummer Pat McKeage joined. These raw bare bones versions actually don't sound that far off from the singles and album (the absence of Johnny's songs not withstanding). Still, hearing these demos was my first exposure to the band and made me an instant fan.

Black and Whites - demo

Darin Raffaelli & the Donnas

2009-08-10T23:49:00.000-07:00

Everyone knows the story; Supercharger guitar player, Darin Raffaelli, hears these 14 year old girls called the Electrocutes, mentors and ghost writes for them and re-dubs them the Donnas. The girls would record three singles and an LP for his Radio X/ Super*Teem label before signing to Lookout! records and flirting with success and stardom ever since. During the peak of their popularity the Donnas were contracted to do the music for two Target commercials. Both of the songs were from their Darin penned days and one of which, "A Girl Like You" featured Darin on vocals. A real treat for early Donnas fanatics and fans of Darin's short lived alter-ego, Donny Denim. Though only 30 seconds long it really makes you wish Darin would re-record these songs on his own

Darin and the Donnas - "A Girly Like You"

the Retardos

2009-08-09T20:45:00.000-07:00

Brian Hermosillo is a genius. From his guitar playing in the Fevers and Donny Denim, to his solo work as the Sweet Faces and collaborations in Skipper and the Groovy Times- all of it pop brilliance. But back in the day the little fuzzy popster wasn't so sweet. Teaming with drummer Kathy Walker (later of the Fevers v.1, the Pinkz, Donny Denim and the Groovy Times) they recruited Doug on bass and a keyboard player (i wanna say his name was Nick but can't recall) and they released two singles on Darin Raffaelli's Super*Teem label before underwhelming popularity lead to a split.

Their first single was a novel concept "hey, let's do what the Mummies did with Sonics and Wailers songs and do it with power pop!". This record had influence on me personally to an immeasurable extent. Covering "Quit this Town" by Eddie and the Hot Rods, "I Can Only Dream" by Protex and "A Girl Like You" by the Elevators, they were giving these long forgotten gems the Budget Rock treatment a decade before it became cool to even admit to liking power pop again. Even as crude and feeble as their attempt to capture the talent and harmony of the originals, there is something to be admired and revered about the energy and attitude and snarl Brian and company offer.

the Retardos - "Don't Want..."

S'Cool Girls

2009-08-09T19:18:00.000-07:00

Hollywood glitter rockers, S'Cool Girls, were the kings of the party. Though only around for a short amount of time they managed to make a name for themselves with their reputation to invoke the sounds of the glam rock hey day and decadent behavior and style. Sounding like a cross between Chapman/ Chinn-era Sweet, Bolan's T. Rex bravo and Nick Gilder's satin effeminacy, a buzz was being made and many assumed it was only a matter of time before major labels and audiences took note. However the S'Cool Girls only released a handful of songs before disbanding.

Songs like "Put Up or Shut Up" (with adorable spoken word break by the thickly accented Sweedish guitar player ["it's time to close the deal, baby" indeed!]) and "California Groupie Girls" played up on the over sexed swagger as "Destiny Girl" shows their softer croon. The Gary Glitter drumbeats and vocals that sound remarkably like Gavin May (singer of the Fevers and most recently the Rantouls), the band truly were 25 years too late or five years ahead of their time.

S'cool Girls - "s/t" e.p.

the Decibles

2009-08-09T13:29:00.000-07:00

In the early 90's Northern California was privy to an exciting garage rock rebellion as well as a pop punk renaissance, but what often gets over looked was the short lived mod-revival. Undoubtedly, the most exciting band of this era was Sacramento's Decibels.

Originally bursting onto the scene as a three-piece lead by former E-Type, Dean Seavers, the group would gig around and hone their craft for nearly five years releasing only a few comptracks and one single ("Radio" on the G.I. Productions label out of San Jose, California). Mixing 60's pop influences and 70's mod revival they were reminiscent of a happy go lucky Jam or a harder edged Choir they were a step away from the trash rock sounds of the Estrus and Telstar garage punk groups they'd often share gigs with. The three piece line up cut their teeth up and down the coast before line-up changes and other projects would interfere. Bassist/vocalist Joe Pach would move to second guitar and Dean's kid brother (eleven years his junior) Brent would take over on bass and Brian Machado would round out the line-up on drums when they'd release their debut album, "Create Action" on Germany's Screamin' Apple label.

The new line-up and album seemed to breath new life into the band but it was already known that at the end of '97 Brent would have leave for his Mormon Mission in Utah for two years. The group would soldier on and replace him with Bobby Jordon (of the Knockoffs and currently MTX) during this time. A few songs were recorded with this line up ("White Christmas" and "You Make It Move") until it was decided the band was being run too thin due to personal obligations and obligations to other bands.

Brent returned at the end of '99 and the band was back together making their second album "the Big Sounds of..." (once again on Screamin' Apple). Sounding as though they never missed a beat "Big Sounds" was a fuller and catchier fallow up to their debut.

2003 would see the release of "the Bart Thurber Sessions" on Japan's 1977 label. Culled from the studio sessions during their three piece days a few other assorted odds and ends it was the perfect missing link between the E-Types slightly more primitive sound and the pop hooks of the Decibels. What's more, it gave the band an invitation to tour Japan where they were adored.

The Decibels - First Time

These days it seems they have once again called a hiatus but it seems every five years or so we are treated to a new record and it's long over due.

"Create Action"
"Big Sounds of..."
"Bart Thurber Sessions"

Bitchschool

2009-08-06T14:25:00.000-07:00

After chicano garage punk darlings, Loli and the Chones split up, brother and sister Chris and Michelle Santamaria started a new project- Bitchschool. Though only active for a year or so before disbanding the group recorded one single for Tina Lucchesi's Lipstick records and a posthumous cover of Nick Gilder's "Runaways in the Night' for the "California Ain't Fun No More" comp.

Outstanding female fronted power pop ala Lucchesi's Bobbyteens and Nikki and the Corvettes, Michelle's voice exuberates both innocence and sass. The basic minimal production and song writing give it a modern "girls in the garage" feel. With every song you begin to wish Michelle is singing about you. "Record Shop" is a simple premise; girl meets boy at a record shop and croons out her affection, but damned if you don't wanna go browse dollar bins for dusty 45's with your fingers crossed waiting for some cutie to happen by... and write a song about you. Even with their anthem/ title track of rebellion and attitude by the time the chorus kicks in you hear more cute than rude.

Bitchschool

the Black Dahlias

2009-08-02T12:00:00.000-07:00

Matt K. Shrugg has been a stalwart in the Sacramento garage scene since he was a teenager. He played drums in just about every lo-fi 60's punk band in the area code from the Shruggs, to th' Loosin' Streaks, to pop punk icons the Groovie Ghoulies and fill ins for the Lizards. The kid got around. It was only a matter of time before he got the urge to start his own band. Enter the Black Dahlias.

Originally a four piece consisting of Matt on guitar and vocals, Adam Miller (formerly of the Mallrats) on bass, Jeff Melendez (ex-Milhouse SMF) on drums and Matt's girlfriend on guitar and vocals the band recorded a demo with Sacramento producer Chris Woodhouse (no stranger to the Sac punk scene himself having played in and produced the A-Frames and FM Knives among countless others).

By the time they recorded their sole 7", "Wednesday Night" on Plastic Idol records, the band was a three piece and the chick was out of the band. But not quite out of the picture (a love triangle of epic proportions would result in the band's break up). Still, the 7" captured the band in it's perfection. The sing along title track sets the tone of reckless fun. Wonderfully produced by Woodhouse (i.e. does not sound like it was recorded with a handheld tape recorder) and full of hooks and snarl it truly is a forgotten gem of the Sacramento scene.

Of course Matt would go on to drum for Greg Lowery's Zodiac Killers and continue playing in both the Shruggs and th' Loosin' Streaks before forming the Pizzas (a more or less direct continuation of the Black Dahlias with a new line up behind him) and releasing several solo singles and Jeff would drum for Boats! as well as achieve some success as a producer himself.

the Black Dahlias

the Rip Offs

2009-08-01T19:38:00.000-07:00

Very few bands neatly sum up a musical movement. The Rip Offs are one of those rare groups. Their movement? The bowel movement o' garage punk. Lo-fi slop in shitty black and white sleeves by four retards with nylons covering their ugly mugs.

The 90's were a bleak time in the Bay Area. The East Bay had Gilman Street and Lookout records and a bunch of hippies, pop punk kids and smelly punk rock commies trying to hold hands in the gutter. San Francisco had a bunch of mooks trying to be the next Pearl Jam or Alice in Chains and a hand full of ass-tacular groups like the mighty Mummies, stoopidly brilliant Supercharger and the lovely Trashwomen serving up 60's influenced trash rock at it's finest. But eventually those bands all broke up and Supercharger bassist and Rip Off records CEO, Greg Lowery, got the itch to kick everyone in the balls with some real punk rock. Recruiting brothers Jason and Shane White (formerly of L.A.'s like minded Fingers) on drums and guitar, and rhythm guitarist Jon Von (fresh from his long stint of duty as a founding member and occasional co-frontman of Berkeley pop punk forefathers the Mr. T Experience), the band was obnoxious, loud and catchy.

With all four members singing and contributing songs the band was full of hooks, attitude, ego and shit. The first two made for great tunes, the last two of course ripped the band apart. After releasing an album, a hand full of singles on Lowery's Rip Off label (many of which one sided), a split with Japan's Teengenerate and a Lowery unapproved band released 45 ("the Savage Middle Aged Rip Offs" [which was from an early practice demo Greg never wanted released- oops!]) the band called it quits. By that point Lowery's label was putting out records from equally (un)talented rock and roll affectionados and inspiring and influencing tons of band with their brand of budget rock.

The band put differences aside in 2007 to do a short Euopean tour before sneaking back into retirement. However, during a recent trip to Berkeley's KALX radio studios a tape of the band from January of '95 was found in all of it's glory. How these assholes made it through this long with out getting their teeth kicked in or pulling a Cobain from all the bullshit they were surrounded by is a wonder unto it's self.

the Rip Offs "Got a Record" and singles
live on KALX

the Mallrats

2009-07-30T19:54:00.000-07:00

Before joining the current incarnation of the Mr. T Experience, guitarist Ted Angel fronted his own band; the Mallrats. Based out of Sacramento, California the trio fallowed the Beatle-boot footsteps of hometown heroes the Decibels and E-Types. 60's rooted power pop drawing influence from mod-revival acts ala the Jam, Lambrettas, 90's mod-punk groups like the Odd Numbers, Gain and Hi-Fives and pop punk favorites MTX and Sweet Baby. The Mallrats were Rickenbacker pop at it's finest.

Originally, the boys wore their influences on their sleeves (literally) dawning suits and ties to match their heroes. Ted, bassist Adam and drummer Steele were considered upstarts and heirs to the Decibels' more or less vacant thrown, so much in fact, they were even signed by the same German record label (Screamin' Apple) that put out the Decibel's first album and produced by Decibels' producer Bart Thurber.

Their debut album "Fall in Love All Over Again with..." is one of the best power pop albums of it's time. Often forgotten in favor of the Exploding Hearts' perfect debut LP (on Screamin' Apple coincidentally) and their heart breaking departure, the Mallrats were a prime example of the lighter and almost wholesome side of the genre. They were the Shoes of their era. The Rubinoos of their generation. The Heats of their class.

Shortly after releasing the album a European tour was booked. It was at this point Steele's personal problems began to wear on the band. Adam and Ted opted to replace Steele with former Groovie Ghoulies drummer, Jaz Brown, and embarked on their trip abroad. Along the way they lost their suits and the band's song writing began to show signs of maturity. Ted had joined MTX by this point and working so closely with frontman Dr. Frank his compositions began to showcase clever plays on words and more focus on song craft and performance rather than strong riffs and fun beats. By the time they returned home to Sacramento Ted had several new songs he could not wait to introduce to the rest of the band. He recorded several of these songs playing all the instruments himself in his apartment on 33rd St. (Oak Park's official "no ho zone" [a local reference only 916 residents will appreciate]). However before the songs were ever properly recorded, the band quietly disbanded with everyone pursuing their own projects.

Though only officially releasing one album and two Christmas songs for a local comp, and accompanied by both their original demo and the 33rd St sessions the band left a lasting impression on those lucky enough to be privy to their sounds.

the Mallrats

Sack - "Get Wrecked"

2009-07-19T22:01:00.000-07:00

Years ago after the Lillingtons decided to take a break (after ridding ol' man Ben's coat-tails and beating the retarded Riverdales meets Groovie Ghoulies thing to death), front-man Kody Templeman and a few of his Wyoming pals got drunk and started a new band; Sack. They cut a drunken album for Clearview records (the label that gave the Lill-ies their start) and disappeared before anyone was even able to get their hands on it. i remember everyone getting their boxers in a bunch and walking around with a hard-on like a retard in sweatpants in anticipation. i don't know the whole story of what happened next but i do know Kody joined Teenage Bottlerocket (coincidentally after i reviewed the band's early releases and made the comparison and an off handed crack about him joining the group) and Clearview reissued the Lillingtons stuff in a box set and has been selling an abridged (read: missing songs)sampler of the Sack album for folks willing to buy the set off him via e-bay. Last i heard he sold out and deactivated his account so i figured what the hey. People are looking for it and i happen to have it.

All twelve songs are like the soundtrack to the greatest teen movie never made. Simple, stupid and drunken (i cannot stress the drunkenness [seriously, like a case of Keystone and empty bottles of Boone's Farms drunk]) this is a party record. Not the kind of music you put on at a party, but definitely music you'd blast in your car on your way to a party ridding around in an over crowded car. Taking a step away from the Ramones worship and just belting out a fast, snotty and fun tunes like "One Helluva Party", "Pool Party" and "Let's Get Blind" are prime examples of the uh... drunk party "theme", and songs like "the Classic", "the Headbanger" and "the Born Loser" give a good description of the low lifes and degenerates that make this drunk party so much fun.

Sack - "Get Wrecked"