Various – If You Gotta Go-Go, Go-Go Now : A Tribute To The Go-Go's

This seemingly came out of nowhere as it appears to be SFTRI’s first new release in nearly a decade. It has also been 20-some-odd years since their How Many Bands Does It Take to Screw up a Blondie Tribute? This is somewhat of a companion disc to the Blondie tribute as it shares the same compiler (Travis Ramin) and cover artist (Aaron Marshall), along with some of the same musical participants. In typical SFTRI swashbuckling fashion, the disc has been somewhat of an elusive treasure as the silver ring has seemingly been stuck on a container ship outside the Port of Long Beach, resulting in backstock status throughout 2022. 

How Many Bands Does It Take To Screw Up A Blondie Tribute? 

Like the aforementioned Blondie tribute album, the source material is so strong, it’s almost a foregone conclusion that this tribute album will be a successful one. Scanning the groups involved, reveals a beguiling mix of the Go-Go’s competitors and contemporaries from the late ‘70s & early ‘80s (Paul Collins, Nikki Corvette and Josie Cotton), some of the most compelling musicians associated with the best of the ‘90s (Fastbacks, Lisa Marr), famous in Japan acts from the last 20 years or so (Baby Shakes) and Japanese groups famous outside of Japan (the 5.6.7.8's).

SFTRI has a strong track record of bringing much needed attention to obscure, yet outstanding female-fronted and all-female bands with their many releases, tributes and compilations. Hearing how each act incorporates their own individual style within the vicinity of the distinctive sound and brash & bouncy energy of the Go-Go’s is the pull of this disc. There are some instant winners with the artists one already appreciates and then there are some unexpected pleasant surprises with a few previously unknown groups who share similar guitar-driven sensibilities. The only glaring omission was not seeing the inclusion of Peach Kelli Pop, who are one of the most Go-Go’s influenced bands going today. There are always many reasons behind these things. Perhaps they are waiting for a tribute to Redd Kross? Essential link between Blondie and the Bangles Over the decades, the Go-Go’s have become regarded as one of the key groups of the new wave movement and in a way a commendable cross-over act that connected the underground to the mainstream that one can still hear at wedding receptions and swimming pools or in short the essential link between Blondie and the Bangles. During the first five years of the '80s, they brought the changing sound of the San Fernando Valley, Hollywood and Los Angeles to the world. Along with the Plugz, the Plimsouls and Phil Seymour they played the Starwood and the Whiskey a Go Go. As things began to accelerate, they were off to the American heartland to open for the Pretenders before jetsetting with I.R.S./A&M labelmates the Police. With the hits, the foremost Southern California New Wave band became headliners and played everywhere from Palos Verdes High School to stages in Australia, Brazil, the UK, Japan and achieved international stardom in the process. (All this makes one wonder if they were ever considered to be included in the famous CHiPs’ “Battle of the Bands” episode as Charlotte Caffey’s father Thomas Caffey directed episodes of ChiPs?)

Their backgrounds were as distinctive and varied as the state of California itself. They ranged from the outsized appeal of Thousand Oaks’ favorite day-glo diva Belinda Carlisle to the Texan transplant Kathy Valentine, who brought an outsider perspective and hard-won wisdom from the Austin school of hard knocks. Gina was the girl from Baltimore who more than kept the beat, while Jane Wiedlin brought her Hollywood fashion school background to the foreground with a fair share of pixie dust. Further, Charlotte Caffey was seemingly a Golden State golden child from Glendale who radiated reserved cool and could do it all.

Worlds Away The Go-Go’s stirrings led to a ripple effect that eventually crested into momentous waves that continue to build, lift and launch these 24 acts from sea to shore. Fastbacks surge ahead with their version of  “Vacation” and make it unmistakably their own with Kurt Bloch’s nose-dive metal flake fills leading up to the indelible and exultant chorus. Some may recall that cub covered “Vacation” on 1995’s Come Out, Come Out. Writing of cub, Lisa Marr’s astonishing rendition of “Worlds Away” is simultaneously the most monumental and spare song on this compilation. She found such a gem to interpret and completely transformed it with her austere treatment. I consider it my favorite single song of 2022 as it takes on a life of its own, while expressing the seemingly overwhelming concerns of the day-to-day with the underlying and universal yearning to be worlds away. In addition, Marr makes the ukulele sound avant again as her playing style verges on the exotic-making it sound more like a koto or zheng.

“Tonite” is a Mike Skill (The Romantics) and Nikki Corvette collaboration featuring the coiling, yet compressed and gleaming guitar tone. These vets come closest to approximating the economical playing and the incisive sounds insisted by producer Richard Gottehrer on the Beauty and the Beat sessions. 

The splashy “Surfing and Spying” written by Charlotte Caffey is put into the capable hands of the 5.6.7.8’s. The Japanese trio blast out their surf punk guitar and make waves worthy of Charlotte Caffey, who joined the Go-Go’s after a stint with the Eyes. Songs like “Disneyland” indicated the Eyes’ own astute and askew take on the Southern California surfy punk sound.

This Town Baby Shakes reacquaint listeners with “This Town,” which has emerged as one the Go-Go’s finest songs. Besides marking a high point in their songwriting, “This Town” is also an example of the Go-Go’s undeniable ability to glean the decades like a thrifter with a trained eye. They were obviously and unabashedly spurred by the best early to mid-sixties pop rock, while also proudly wearing their prominent ‘70s power pop & punk influences on their tattered sleeves. Overall, they were not only in tune with their times, they helped shaped its direction by their awareness of the past and forward momentum.  

I used to see the name of the Nutley Brass bandied about in ‘90s zines like Go Metric and I dismissed them as a novelty act without ever actually hearing them. They bring something new to the table with their recasting of “Head Over Heels,” which was the Go-Go’s final top 10 hit from spring of 1984. Nutley Brass’ something new is a touch of KPM Music with a Sting of the Mike Flowers Pops Orchestra. The Nutley Brass is a project of the talented Sam Elwitt who would go on to produce two excellent albums for Miriam Linna.

Presented with punch and supreme poppiness, “Can’t Stop the World” was the worthy flip of “We Got the Beat” on the IRS single. Kathy Valentine's declaration of determination lends itself well to reinterpretation by Go-Go’s contemporaries Holly & the Italians as well as being the fitting closing song and statement (like on the Beauty and the Beat album).

Fast Times at Ridgemount High soundtrack stars The Go-Go’s were an effervescent, upbeat, catchy and pivotal group who partly defined the early ‘80s. Success arrived for them because of their ability to absorb and encompass the overlapping musical and visual influences of several Southern California’s extant sub-cultures into an appealing, distinctive and unified identity of their own. Music videos helped them further render their spunky look to an inflection point, while VHS footage (Totally Go-Go’s) showcased their live excellence. In short, they were able to put the symmetrical in the asymmetrical and the power in the pop. 

They had an intrinsic melodic sense that continues to give their songs perennial appeal. The quintet was also an eminently likable band, but unfortunately as an all-female band in the male-dominated music industry they were essentially regulated to second string status by the entrenched establishment. The Go-Go's eventually made their own way through years of self-imposed struggles, intragroup strife and industry resistance. Ultimately, their collective resolve took them all the way to the Rock & Roll Hall of Fame. More importantly, they have survived to succeed and influence successive generations through recent books, documentaries and their enduring songs. Their jolting and joyous energy is still breaking through.

The Ramsey Lewis Trio-Upendo Ni Pamoja

After years of recording for Chess Records and its Argo and Cadet subsidiaries, Upendo Ni Pamoja was the trio’s debut for Columbia Records. They prepared a well-rounded selection of songs that lavished in lushness, scaled gospel heights and barreled through rhythm & blues (with frequent visits to all of these styles, moods and moments within the expanse of a song). These ranges of emotions seemingly emanated from Ramsey’s playful sense of adventure, inherent jazz soul and spirit of generosity.

As a mainstay for decades, I have to admit that I took Lewis for granted until he was no longer here (as of September 12, 2022). Revisiting old favorites and seeking out the previously unfamiliar have given me a proper appreciation of his vast body of work. While already well known by crate diggers and heavily sampled since the ‘90s, recent glowing recommendations of Upendo Ni Pamoja spurred me in its direction.

A reviewer on Amazon aptly referred to the album as dashiki jazz, while another listener on Youtube fittingly described the album as “funky soulful spiritualism.” Both encapsulate this transitional album of crossover soul jazz co-produced by Ramsey Lewis and Teo Macero with sound captured and converged by Fred Plaut, who was one of Columbia Records' finest engineers. The title of this album, rendered in Swahili, translates to “Love is Together,” was perhaps lifted from Afro Sheen’s advertising that appeared in 1971 editions of Ebony. 

Their opening statement is a free flowing cover of War’s “Slipping into Darkness” with jabs of upright bass provided by Cleveland Eaton and the spot-on drumming of Morris Jennings-giving Lewis the sound and space to take off with the simmering melody. The album quickly hits a peak point with an evocative cover of "People Make the World Go Round," which was the big 1971 hit for the Stylistics. Further, the Trio’s rendition sounds like it may have influenced Milt Jackson’s version, which emerged on his commendable Sunflower album from 1973.

Goin' Latin from 1967 with arrangements by Richard Evans

The adventurous title track, "Upendo Ni Pamoja,” also released as an edited 45, has it all as it features the prominent bright melodies of Ramsey’s mid-sixties pop & soul jazz period along with the still futuristic sounding sonic textures that would soon be abundant on Sun Goddess. (Ever since finding Sun Goddess in a Goodwill sometime in the ‘90s, it has been my go-to Lewis album from the ‘70s, while Goin’ Latin is my choice from the ‘60s.) The closing number “Collage” still hovers “out there” and is another foreshadowing of the elastic shape of sounds to come with Ramsey’s use of Fender Rhodes Electric Piano and his embracement of the newest technology (ARP Ensemble & ARP Synthesizer) that would be fully employed and topped off by ethereal vocals on Sun Goddess. It should also be noted that the unsung violinist & percussionist Ed Green wrote some of the strongest material on this album. His credits include both “Collage”and the aforementioned “Upendo Ni Pamoja.”

Sun Goddess-1973

Lewis was courageous and countervailing on one level for casting a wide net and taking on the pop and soul hits of the time despite being maligned by the cognoscenti. His efforts were rewarded as his appealing and exuberant jazz pop records scaled the ultra-competitive Top 40 charts of the mid-sixties.  Lewis should also be recognized for his overall versatility, which was made possible by his equanimity, expansive vision and all-encompassing approach towards music. 

L to R: Cleveland Eaton (bass), Ramsey Lewis,
Morris Jennings (drums)

Interview with Rie Nishioka of the Pen Friend Club

Their Self-Titled 8th Album

  

The Pen Friend Club have been soaring over the expanses of West Coast Pop making musical waves across the Pacific Ocean for the past 10 years. Their bass player 西岡利恵 Rie Nishioka has been with the group since its beginning. Music runs throughout Rie's life whether on bass for the Pen Friend Club or leading her ‘60s garage combo named Schultz, playing keyboards for the '80s inspired act DEAR MY FRIENDS or her latest pursuit of playing solo.  Stacked on top of all the music, she is also a fine writer and her words on her musical inspirations can be found on WebVANDA. Further, it’s not everyday we come across a multi-instrumentalist as talented and versatile as Rie. In a way, she is like one of Wrecking Crew session musicians (e.g., Carol Kaye) in her support roles and also similar to one of the Brill Building singer-songwriters (e.g., Ellie Greenwich, Carole King) when she steps forward into the spotlight. Overall, she exemplifies the inspiring Japanese way of combining the aspects and elements of a vanished past with attention to detail and quality to create vibrant and eternal sounds we can hear now. Deeply involved and immersed are understatements when it comes to describing Rie and her music.

Special mention must be made to Patrick of Tokyo's Coolest Sound blog and drummer in Childish Tones feat. Beni Usakura as he made this interview possible through his encouragement, extensive translation and technical efforts to connect the world with Japan.

This interview is presented in alternating and corresponding Japanese & English.

The Pen Friend Club

■平川雄一 : (Yuichi Hirakawa) ：Guitar, Backing Vocals

■Megumi ：Vocals, Backing Vocals

■西岡利恵（Rie Nishioka）：Bass, Backing Vocals

■祥雲貴行（Takayuki Sakumo）：Drums

■中川ユミ（Yumi Nakagawa）：Glockenspiel, Percussion

■大谷英紗子（Asako Otani）：Saxophone

■リカ（Ricca）：Acoustic Guitar, Backing Vocals

■そい（Soi）：Organ. Piano, Backing Vocals

 

西岡利恵さんはペンフレンドクラブの結成時から参加されていて、キャロル・ケイ／ブライアン・ウィルソン／アル・ジャーディン的な役割を持ち、その複雑なベースラインがグループの魅力的でソフトなポップセンスと挑戦的なアレンジを支えている。

You have been with the Pen Friend Club since its beginning. You play the roles of Carol Kaye/Brian Wilson/Al Jardine with some quite complex bass lines that lay the foundation for the group’s soft pop brilliance and ambitious arrangements.

10周年を迎えたばかりという長い歴史を持つこのグループとはどのように関わるようになったのか教えてください。

Rie: 10年前、リーダーの平川からバンドをやろうと誘われた時はこういうジャンルの音楽をやることも、こんなに長い期間続くことも想像していませんでした。スタジオに入っているうちに、初期の段階で平川の中で表現したい音楽性が固まったようです。ペンフレンドクラブの曲のベースラインやアレンジは彼によるものです。私はもともと60年代、70年代あたりの音楽が好きでしたがペンフレンドクラブの音楽性とは少し違っていたので、バンドをやることで新たな音楽を知って、演奏するのは楽しかったです。ライブ、レコーディングを重ねているうちに気がつけば10年経っていましたが, 新作のアルバムでは初めて創作の部分にも関わり、とても新鮮でした。

(L to R) Rie Nishioka (w/Rickenbacker 4001), Takayuki Sakumo, Megumi,
Yumi Nakagawa, Ricca, Yuichi Hirakawa, Soi, Asako Otani

Tell us about how you got involved with the long-running group who just celebrated their tenth anniversary?

Rie: Ten years ago, when leader Hirakawa invited me to form a band, I had no idea that it would be this kind of music or that we would end up continuing this long. As we repeatedly went to the rehearsal studio in the early days, the type of music he wanted to create quickly concretized. He's the one who does the bass line arrangements in the Pen Friend Club. I had always liked some music from the '60s and '70s, but it was a bit different from the Pen Friend Club's musical direction. By being in the band I got to know more music, and playing it was fun. As we did shows and recordings all along, it seemed that 10 years went by quickly, but despite that in the making of our new album I got to participate in creative areas for the first time, and that felt very new and different.

The Pen Friend Clubのメンバーになる前に、西海岸のハーモニーが充実したサンシャインポップサウンドを聴いていましたか？

Rie: The Beach Boysなども少し聴いていましたが、以前はイギリスの音楽を聴くことの方が多かったです。

Were you familiar with West Coast harmony/sunshine pop sounds before becoming a member of the Pen Friend Club?

Rie: I listened to The Beach Boys and others a little, but before that I listened to more British music.

The Pen Friend Clubの新しいアルバムが録音されたと読みました。

その方向性についての詳細を教えていただけますか？

Rie: 9/7に8thアルバムがリリースされます。これまでと大きく違うのは全オリジナル曲ということ、アコースティックギター・コーラスのリカと私が曲作りに参加したことがあります。これまでのアルバムではオリジナル曲は平川作でしたが、今回別メンバーが参加して、それぞれの音楽性の重なる部分と違いとがよく表れているように思えるので、新しいアクセントになっていれば嬉しいです。

ちなみに、ニューアルバムでは西岡さんが「The Sun Is Up」「At Least For Me Tonight」「People In The Distance」「A Better Day」の作曲を担当しました。「Floating To You」は平川雄一さんとの共作です。

 

I read that a new Pen Friends Club album has been recorded.

Would you be able to offer any details or descriptions on its direction? 

Rie: Our 8th album will be released on Sept. 7, 2022 on the Sazanami Label. The biggest difference with the previous ones is that all songs are originals. Ricca–who plays acoustic guitars and sings backing vocals–and I participated in songwriting. Until now all of the original songs were written by Hirakawa, but this time other members also took part. I believe that the musicality of each one overlaps or brings differences, and I’d be happy if that can bring a new accent.

For the record, Rie composed the music of these songs on the new album: "The Sun Is Up," "At Least For Me Tonight," "People In The Distance" and "A Better Day". She also co-wrote "Floating To You" with Yuichi Hirakawa.
The Pen Friend Club / The Sun Is Up (Official Music Video) The Pen Friend Club / Beyond The Railroad (Official Music Video)

Schultzというバンド名はどのように思いついたのですか？

Rie: Schultzは綴りは違いますがスヌーピーの作者名からとっています。

How did you come up with the band name of Schultz?

Rie: The name is taken from the creator of Snoopy, although the spelling is different.

Schultzに2人の女性メンバーがいたことがありますか？

Rie: Schultzを結成した時は5人の女性だけのバンドでした。それまで楽器経験のなかったメンバーたちとスタジオに入り音を出していたのはガレージ的で面白かったですが、メンバーがスペインに引っ越したのを機にしばらく演奏することがなくなっていました。随分経ってから、ボーカルだった向井はるかがペンフレンドクラブに加入することになり、その時Schultzも復活させました。

Did Schultz ever have two female members?

Rie: When Schultz was formed it was a band of five female members. As some members had no experience of playing a musical instrument, it was interesting to go to the rehearsal studio and make sound with a sort of garage approach. But then as a member moved to Spain, for a while we stopped making music together. It’s after quite a while that vocalist Haruka Mukai joined The Pen Friend Club, and it’s at that moment that Schultz resumed.

Schultzは「Long Distance Call」「City Looks Still the Same」「I’ve Gone Away」「I Always Say What’s on my Mind」など、オリジナル曲がかなりあるようです。

これらの録音をする予定はありますか？

Rie: 具体的な予定はありませんが、いずれ録音は考えるかもしれません。

Schultz has amassed quite a few originals such as “Long Distance Call,” “City Looks Still the Same,” “I’ve Gone Away” and  “I Always Say What’s on my Mind.”

Are there any plans to offer these recordings?

Rie: There are no concrete plans so far, but I might think about recording sometime.

Schultz (L to R) Hiroyuki Anabuki, Takayuki Sakumo,
Rie Nishioka, Atsushi Jinno

Schultz 2022 line-up

■西岡利恵（Rie Nishioka) ：Guitar, Vocals

■神野敦史 (Atsushi Jinno) ：Guitar, Backing Vocals

■ 穴吹洋之（Hiroyuki Anabuki）：Bass ■ 祥雲貴行（Takayuki Sakumo）：Drums, Backing Vocals

2022年4月24日に開催された「Add Some Music To Your Day」配信イベントでは、西岡さんがキーボードを担当する80年代風バンドDEAR MY FRIENDSがデビューしました。このバンドについてもう少し詳しく聞かせてください。

DEAR MY FRIENDSはレコーディングセッションを行ったり、リリースの予定があったりしますか？

Rie: DEAR MY FRIENDSに関しても、現時点ではレコーディングの予定はなく、ライブを目的として活動しています。

I’m excited to learn more about and hear DEAR MY FRIENDS, which is the “80s styled” band that you play keyboards for and debuted at an installment of the “Add Some Music To Your Day” live streaming event that took place on April 24, 2022.

                          

Has there been any DEAR MY FRIENDS recording sessions and/or recordings slated to be released?

Rie: Regarding DEAR MY FRIENDS, so far there are no plans of recording, as the goal is to perform live.

DEAR MY FRIENDSというバンド名はどのように思いついたのですか？ Rie: 名付けたのは私ではありませんが、曲名からきているそうです。

How did you come up with the band name of DEAR MY FRIENDS?

Rie: It wasn't me who chose the name, but it seems that it was taken from a song title.

DEAR MY FRIENDSにはSchultzのメンバーも参加されていますか？

Rie: Schultzでサポートをお願いしている2人のメンバーはDEAR MY FRIENDSでもあります。

DEAR MY FRIENDSの方は私が中心人物ではなく、3人が結成していたところに加入しました。

I’m also curious if Schultz shares any members with DEAR MY FRIENDS?

Rie: Two of the support members of Schultz are also in DEAR MY FRIENDS.

I am not the main person in DEAR MY FRIENDS, three others had already formed it and I joined.

DEAR MY FRIENDS (L to R) Bookie, Monko, JinJin, Rie

DEAR MY FRIENDS

■Monko ：Guitar, Vocals

■Bookie ：Bass, Backing Vocals

■JinJin ：Drums, Backing Vocals

■Rie ：Keyboards, Backing Vocals

 

Schultz and DEAR MY FRIENDS have the same bassist (Hiroyuki Anabuki), and Schultz's guitarist (Atsushi Jinno) is the drummer in DEAR MY FRIENDS.

ソロでのレパートリーについて詳しく聞かせてもらえますか？

ソロアーティストとしてレコーディングする予定はありますか？また、ソロでのライブ活動を続ける予定はありますか？

Rie: ソロについては先日のイベントのために行ったものでした。すべてカバーで、バンドではやらない普段聴いている好きな曲を選びました。Buffalo Springfield、Grateful  Dead、Jim Croce、Cowboy、Brewer & Shipleyの曲です。今のところ定期的なライブやレコーディングは考えていませんが、また前回のAdd Someのような機会があったらやってみたいと思います。

Could you share more insight on your solo repertoire?

Are you planning to record as a solo artist? Also, do you have any plans to continue live as a solo performer?

Rie: Regarding my solo performance, it was for the other day’s event (Add Some Music to Your Day-April 24, 22). All of the songs were covers, and I chose songs different from the band’s, ones of music that I listen to usually. I played Buffalo Springfield, Grateful Dead, Jim Croce, Cowboy, and Brewer & Shipley. So far I haven’t planned to play solo regularly or do recordings, but I’d like to play again when there’s an opportunity similar to last time’s “Add Some Music To Your Day.”

Buck Owens and His Buckaroosの曲をレパートリーに含めることを検討しましたか？

Rie: Buck Owens And His Buckaroosはソロのレパートリーには入れませんでしたが、以前にSchultzで「Above & Beyond」をカバーしたことがあります。カントリーはSchultzの音楽性には異色でしたが私はこの曲がとても好きです。

Have you considered incorporating any Buck Owens and His Buckaroos songs into your set repertoire?

Rie: I haven’t put Buck Owens and His Buckaroos in my solo repertory, but previously in Schultz we played a cover of “Above & Beyond.” Country didn’t match with the musical style of Schultz, but I like this song very much.

現在の曲のレパートリーは、西岡さんがWebVANDAに定期的に寄稿している記事と連動することが多いようです。例えば、The Rising StormとThe Enfieldsについて書かれていましたが、「I’m For Things You Do」（The Enfields）と「Bright Lit Blue Skies」（The Rising Storm）がSchultzのセットリストに登場しました。

この流れだと、ソロでSeals & Croftsの曲が含まれる可能性はありますか？

Rie: WebVANDAでは好きなもの、興味のあるものについて書いているので、自然とカバーしている内容と一致することが多くなりました。Seals & Croftsは前回の選曲には含めませんでした。

Your current repertoire of music frequently coincides with your writing projects which regularly appear on WebVANDA.  For example, you wrote overview pieces on the Rising Storm and the Enfields. Songs by these groups, the Enfields’ “I’m For Things You Do” and “Bright Lit Blue Skies" by the Rising Storm have appeared in your setlists for Schultz.

Following this same pattern, will there be Seals & Crofts songs in your solo set?

Rie: On WebVANDA, I write about things that I like or have interest in, so this naturally goes along with the songs that I cover. I didn’t play Seals & Crofts last time.

このように多数の音楽プロジェクトは注目を集め、西岡さんの音楽スタイルの幅広さと多様性を示しています。

This multitude of musical projects command attention and display Rie’s stylistic range and versatility.

Rie playing solo at Add Some Music to Your Day
 April 24, 2022

The Pen Friend Clubは、Jeffrey Foskettと共演したことがあるそうですね。

他に北米あるいはヨーロッパのバンドとの共演はありましたか？

Rie: 2015年にThe Zombies来日公演のオープニングアクトとして出演しました。

I believe the Pen Friend Club has shared stages with Jeffrey Foskett.

Are there any other North American or European acts who have appeared with the Pen Friend Club at the same concert? 

Rie: In 2015, we played as the opening act when The Zombies came to Japan.

西岡さんのご家族には他にミュージシャンがいらっしゃいますか？
若い頃はどんな音楽を聴いていましたか？

Rie: 音楽一家ではなく、私自身も音楽をよく聴くようになったのは遅めでした。10代前半はハードロック、後半はブルースをよく聴いていました。

Do you come from a musical family?

What type of music did you listen to as a youngster?

Rie: I don’t come from a family of musicians, and personally I only started rather late to listen to music. In my early teens I listened to hard rock, and in my late teens I often listened to blues.

ミュージシャンになりたいと思ったきっかけは何ですか？ Rie: やりたいことをやっていたら日常の中で音楽の割合が多くなりましたが、職業ではありません。

What made you want to become a musician? Rie: As I went on pursuing the things I wanted to do, music has taken a bigger part of my daily life, but it isn’t my profession.

西岡さんは子供向けテレビ番組の「セサミストリート」がお好きなようです。

セサミストリートは世界中においてその現地語版が存在することは知っていましたが、日本でも長く放送されていて影響力があることを最近まで知りませんでした。

Rie: セサミストリートは英語を学ぶために見始めましたが、多くのミュージシャンがキャラクターとセッションしているのが好きでした。エルビスコステロを聴くようになったのはこの番組がきっかけです。

I saw that you have an affinity for the children’s television show Sesame Street?

While I knew Sesame Street had versions all over the world, I didn’t previously know of its long run and strong influence in Japan or the NHK version of セサミストリート Sesamisutorīto.

Rie: I started watching Sesame Street to learn English, but I liked that musicians do sessions with the characters. It was the reason I began listening to Elvis Costello.

現在の日本のバンドでおすすめはありますか？

CHILDISH TONESや秘密のミーニーズはかなり熟練しているようです。

Rie: 日本の音楽は、イベントでご一緒したりして魅力的なバンドを知ることが多かったです。Childish Tonesはにぎやかで楽しい雰囲気も素敵だし、サスティーンの短い独特な音がThe Milkshakesのような空気感があってかっこいいと思いました。秘密のミーニーズの渇いた空気感や郷愁が感じられる曲やサウンドもとても好きです。

Are there any other current Japanese bands you would like to mention and recommend?

Childish Tones? The Secret Meanies sound pretty proficient.

Rie: In terms of Japanese bands, I have known many good bands by being part of the same event. Childish Tones’ lively and fun ambiance is lovely, and their distinct sound with low sustain has an atmosphere similar to Thee Milkshakes. I also love The Secret Meanies’ songs and sounds that have a dry and nostalgic feel.

 最近、大滝詠一をたくさん聴いています。 YouTubeのおかげで、彼の音楽は5年程前からアメリカでより知られるようになり始めました。

The Pen Friend Clubがこのエキサイティングなシティポップムーブメントに含まれる現代的なバンドの1つであることについてはどう思いますか？

Rie: 私自身はシティポップというジャンルに詳しくはないのですが、時々ペンフレンドクラブがシティポップだと言われることがあります。リスナーの方の音楽性によってバンドのどの側面が際立って見えるかが変わってくるのは興味深いです。

I have recently been listening to a lot of Eiichi Ohtaki 大滝詠一 (“The father of City Pop”).  Thanks to YouTube, his music has just started to become better known in the United States in the past 5 years.

How do you feel about the Pen Friend Club being one of the contemporary bands included in the exciting City Pop Movement?

Rie: Personally I don’t know much about City Pop, but sometimes The Pen Friend Club gets described as City Pop. It’s interesting how a different facet of the band may stand out depending on the listener’s musical taste.

The Pen Friend Club in Concert

The Sidewinders-S/T

Taking their name from the Byrds’ Roger McGuinn song, "Chestnut Mare,” the Sidewinders were neither country nor from the West.  However, the quintet were considered by many to possibly be the best live band in Boston during the dawn of the ‘70s. Their competition was fierce as the future mega-stars Aerosmith and the insurgent Modern Lovers were playing the same circuit.  In Boston, they opened for a variety of acts ranging from Big Star and the Grateful Dead to Del Shannon.They made the big time jump to New York and became quite the live sensation at Max’s Kansas City in Manhattan, where they became the house band and lead singer Andy Paley made it on the cover of Andy Warhol’s Interview magazine. They also have the historical distinction of being the second band to play at Max’s Kansas City after the Velvet Underground. Despite all the complications, they made it happen and continued the Boston tradition of making people want to hit the dance floor and linking Barry & the Remains and the Real Kids in the process. Their eponymous debut is also notable for being the first Lenny Kaye production.

Lester Bangs Seal of Approval

In a 1972 Creem review of their debut album, Lester Bangs called them, “Perhaps the “Live Rock ‘n’ Roll” surprise of the year.” However, Bangs considered the recording thin for its lack of bottom.  A recent Ugly Things interview has Lenny Kaye describing his production as “dry” and that he was exercising restraint from embellishments because he was wary of overproducing. Like the similar crisp production of MC5’s Back in the USA, Kaye’s sparse treatment gives the Sidewinders’ sound a distinctive streamlined minimalism that matches the music. Presented with this spacious production, these compact and competently played songs still stand out 50 years later as examples of proto-power-pop. Further, the album offered a more mainstream take on what the Velvet Underground (Loaded-era) and the Modern Lovers were doing around the time. In some quarters, the record received criticism for sounding too commercial due to its catchiness. What do you expect for an album on RCA?  A 1972 Billboard review got directly to the point: “Probably more closely geared to the Top 40 phenomenon, than underground.” With its clean production lines, it definitely would have passed the Motown test of jumping out from the dashboard AM radio.

  

Surprisingly, there are no traces of any singles being released by RCA. While not really representative of their propelling sound, “Moonshine” goes down smoothly and probably would’ve been tapped as their first 45. I do prefer the original version of “Rendezvous” over the Paley Brothers’ version that is more commonly heard. It’s one of the few times where a slower tempo works better for me. The dashing “O Miss Mary” has the feel of the Real Kids picking up the pace on “Sweet Jane,” with the song being carried along by its sweeping chorus. The foreshadowing of the Real Kids continues with the snappy “Got You Down.” The brisk song uncoils with guitars galore, including that “NYC subway sound” as coined by Jonathan Richman to describe the Velvet Underground. “Reputation” traces the lines through the Rolling Stones and "Jump into the Fire" by their RCA labelmate Nilsson. Surprisingly, Billy Squire would later join the band after this album was released and before he joined Piper. The talented Andy Paley went on to the pure pop act of the Paley Brothers before extensive songwriting, production and musical support work with Brian Wilson, Jonathan Richman, April March and SpongeBob SquarePants. While not an exceptional album in its entirety, it does have its inspired and lasting moments. Overall, it’s remarkable this direct and tuneful album was released in the first place by RCA-especially considering how contrasting it was from the prevailing sounds & styles during rock ‘n’ roll’s mostly lost years of the early ‘70s.

Cashbox Feb. 19, 1972