Supersnazz-Diode City & Rock Juice-Drink All Night

Some 30 years ago I recall being excited to see Supersnazz’s Superstupid! CD in the new rotation bin at the college radio station where I had an early Friday morning show. It seemed like a major departure for Sub Pop at that time to release the debut album from an all-female Japanese band. Little did I know at the time that Kurt Bloch, of Fastbacks, had produced the album recorded at Conrad Uno’s Egg Studio in Seattle and the band had connections with Scott McCaughey of the Young Fresh Fellows. Quickly losing track of them in the midst of busy college life was not surprising as their follow-up Devil Youth Blues was released only in Japan by Time Bomb Records based in Osaka.

Thankfully SFTRI came to the rescue in 1999 and licensed this album for North America release. Diode City is the album where it all came together for them. On the whole, the album is packed with propulsive power-pop and off-the-rails rock ‘n’ roll. There are hooks at every turn and an overall surging energy that both transmits and reflects the perpetual motion of Tokyo.  Leading off is “Words of Love” that rips right off from the start in Blondie fashion. The poppy, choppy and catchy “Baby Love” reminds me of the Eyes (Charlotte Caffey’s pre-Go-Go’s band) with its skip-along sensibilities and racing tempos propelling the song forward.  In fact, the entire record has some of the best punk/new wave/power-pop elements and influences of late ‘70s Los Angeles all over it.

Supersnazz (Tomoko & Spike)
Phoenix, AZ-Nov. 2001

“No Excuse” bursts out with that hammering stripped-down Stooges piano riff and swarming buzz-fuzz guitars before being anointed with Saints-like horns. The title track “Diode City” and “Star Kills” arrive with prominent X marks. They nail the menacing group-chant vocals on “Diode City,” while the blistering “Star Kills'' will have you wondering if it was in any way influenced by Yukio Mishima’s novella “Star.” The delightfully straight-ahead “It’s Alright” brings back the flash and dash of Sheena & The Rokkets.

Supersnazz (Tomoko & Shoe)
Phoenix, AZ-Nov. 2001

“From Home” is a dramatic supercharged girl-group gem with a dreamy melody. However, “From Home” is not the Troggs song of the same title (that was later covered by DMZ), but a Supersnazz original written by Tomoko that sounds strongly influenced by the said Troggs and “You Tore Me Down” Flamin’ Groovies.  “I Wonder” is another successful Crystals/Ronettes cover (and they would go on to have many-including Captain & Tennille’s “Love Will Keep Us Together” that was included on an entire album of covers entitled Sweat Box). Finishing the album off on a strong note, “Mr. Gee,” jubilantly extracts the ‘50s by way of the Ramones circa Leave Home. Supersnazz reached new heights on Diode City by masterfully blending their varied influences into a distinct, vibrant and enduring sound. 

Rock Juice logo illustration by Kame

Rock Juice Kame-Guitar (Machinicalis) Tomoko-Bass (Supersnazz, Tweezers, the Bucketeers)

Mick-O-Drums (Machinicalis, Noble Surfers, Royal Fingers) Tatsuya Inagaki (aka INA)-Guitar (Treeberrys, More Fun)

Naming your group after a Flamin’ Groovies album from 1992 is just one indicator of Rock Juice’s deep devotion to the Groovies. Further, a cyclical pattern emerges as Supersnazz took their name from the Flamin’ Groovies' first album. The sound and spirit of the Groovies undeniably permeates this entire release from the design through the layering of guitars to the song sequencing. Even their band logo is obviously rendered in Flamin’ Groovies/Cyril Jordan font. Fittingly, Rock Juice opens the album with a stellar cover of Flamin’ Groovies’ “Please Please Girl.” On this Jordan-Wison composition they quicken the pace, while striking a perfect chiming tone (stirring ‘60s folk rock meets ‘70s power-pop) that is embellished with folksy interweaving vocal harmonies. On a similar note, it also recalls the Groovies successfully speeding up the tempo on their cover of the Beatles’ “Misery” found on the Shake Some Action Lp.  Not only does Rock Juice, like their forebears, record many covers that they make their own, they frequently draw from the same well as the Rolling Stones, NRBQ and Chuck Berry are all common denominators when it comes to covers on Drink All Night.  In live shows, they even cover Abba’s “Dancing Queen” as a strong melody is a strong melody! 

Photos by Teppei Miki

From Supersnazz to Rock Juice, Tomoko has consistently been a versatile and solid songwriter and she continues to deliver two knockouts, “Lucky Girl” which has resemblance to the Muffs and the brisk, but unsparing “Lights On.” (I still wish to hear her country project the Bucketeers.) Inagaki (Ina) has written a minor classic anthem with “Stop Waiting for Rock “N” Roll.” It’s on the heights of their inspirational models the Sire-era Flamin’ Groovies. Their energy, execution and melodies and production are all in alignment on this striking debut. Rock Juice also convey a highly-developed sense of dynamics through both their guitar interplay and ambitious trade-off vocals. Overall, the record is a conduit to the excitement, immediacy and surging energy still possible in rock ‘n’ roll. May they themselves continue to influence new generations of guitar driven Japanese bands like Hazy Sour Cherry and Flashlights and let’s all hope for a follow-up album. They could even do an all-covers album of  Flamin’ Groovies songs and in the process go full circle. 

Rock Juice (L to R) Kame, Tomoko, Mick-O, Inagaki (aka Ina)

Flamin' Groovies - Fantastic Plastic

It has been 25 years since the legendary Flamin’ Groovies released their last studio album Rock Juice.  While the band resumed actively touring around the rock ‘n’ roll world in 2013 (Japan, Australia, Europe, U.S.A., Canada), fans have been clamoring for a new full length.  They have selectively introduced many of these songs in their recent live repertoire and now have delivered the recorded goods on Fantastic Plastic. Initially I had my doubts as things get off to a pretty shaky start (vs. a shakin’ one).  The album opens up with “What the Hell is Going On” that sounds too much like the “Honky Tonk Women” done by a local bar band inspired by the Fabulous Thunderbirds or the Georgia Satellites.  “End of the World” is too derivative with its reformulation of “Don’t Fear the Reaper” by BÖC hinged upon the Byrds’ “So You Want to be a Rock ‘n’ Roll Star.”

However, things truly click into place when the recording reaches the showcase third and fourth positions.  The Beau Brummels’ “Don’t Talk to Strangers” has been a long-time favorite and here the Groovies, place their truly distinctive style on it.  With “Let Me Rock,” Chris Wilson is in his element and in full command.   I can envision him on the other side of the stage, adorned with his scarf like Snoopy vs. Red Baron, and belting out this exuberant new classic in full rocking mode.  Within is an instrumental passage that highlights the power & glory of the rhythm section comprised of Victor Penalosa (the Phantoms, the Quarter After, the Zeros) on drums and original member George Alexander on bass (both who were in this “new classic” lineup from 2013-2016).  Additionally, the song reveals the clear influence the Groovies had on their guitar-driven followers ranging from the Dictators and the Barracudas through the Hoodoo Gurus.  The “good timey” backing vocals place a smile on the face that reminds me of one their original influences and once label mates-the Lovin’ Spoonful.

As mentioned, the band has always had a knack for well-chosen covers and for making them their own (e.g., “There’s a Place” by the Beatles).  Still, it's really surprising to hear them give a 12-string Byrds-ian treatment to the recorded version of “I Want You Bad” by NRBQ.  When they unleashed this song in Arizona on the 2016 Labor Day Weekend they played it pretty straight-up, but the emphasis on jangle here takes it to another level. The yearning “She Loves Me,” with its layered harmonies and stacked guitars, takes us back to their yin & yang sound of their Sire & Bomp years -which was all about sonically and visually evoking much needed mid-‘60s majesty in the mid-to-late‘70s. It is an unexpected delight to hear the instrumental “I’d Rather Spend My Time with You.” Instros are somewhat anomalous in their world and they cast it out in a continental Shadows style that lifts off the ground with its jet streamlined sound.  “Cryin’ Shame” rolls over the odometer and brings everything back home by encapsulating everything wonderful (lavish harmonies, jingle-jangle guitars and underlying rhythmic propulsion) about this resounding California born and bred band who have been dashing past forward for over 50 years.