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 recordis 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)
Having heard literally hundreds of '60s soft pop compilations (e.g., Lost Jukebox, Spiritual Obscurities, Fading Yellow, Soft Sounds for Gentle People) over the last 20 years, the initial streaming of Trip On Me was pleasant, but seemed to slip by and get lost in the year-end 2022 shuffle. Revisiting this in summer 2023 has been an entirely different experience. This music was obviously made to be heard flowing through stereo speakers and not streaming through a phone or computer. Bringing it back to the stereo reveals the full dimensions of these recordings created during this transitional era of studio technology. The sound is presented in crystalline clarity since all these selections were sourced from the original master tapes, Returning to Trip On Me has provided additional exposure to a refined collection of California-made ‘60s sunshine pop. The collection spans the coast from Bay Area production houses (Trident) and its basement studio (Columbus Recorders) to the enterprising & adventurous Los Angeles independent record labels like Mira, Era and World Pacific.
Curt Boettcher’s star glows brighter and brighter with each passing year. The years have also revealed how prolific he was at the time as his angelic voice continues to surface on stacks and stacks of demos and recordings. The previously unissued “Meadows and Flowers” appears with the full-on Boettcher’s majestical touches and embellishments even though it was produced by Gary S. Paxton. Besides being the Peter Pan and Peter Max of sunshine pop, Boettcher was also its maestro who could sonically stun Brian Wilson.
An early exemplifier and standout track is “A Thousand Faces” by the Thousand Faces, who combine the Association’s “bah, bah, bahs” with the horns of the American Breed and the catchiness of a ‘60s airline jingle to lift off into sunburst skies.
As just mentioned, there were the countless groups who wanted to sound like the Association, while others who wished to emulate the good-timey phase of the Turtles and then there were the totally idiosyncratic and unclassifiable acts like the Candy Company. A song titled “Sugar Stone” by a group named Candy Company might lead one to expect a saccharine group that has a residency at a Farrell's Ice Cream Parlour. However, the Garden Grove quartet actually offers a bit of edge to their sound. They achieve this 1966 toughness through layers of vibes and chanted co-ed vocals propelled a Bo Diddley beat by way of the Strangeloves. Production was handled by the one and only Curt Boettcher.
One of the few songs I was previously familiar with was “P.S. Call Me Lulu” by the Primose Circus, which appeared on Rhino’s Nuggets Vol 05 : Pop Part III. I recall playing this cassette in my dorm room and a visiting mother from across the hall applauded my music. According to the detailed liner notes, the group formed at the top-tier Rice University in Houston.
The Third Wave
The initial draw of Trip On Me for myself was the hype sticker proclamation of previously unissued recordings from the Third Wave. The Third Wave sure was an apt name for a musical outfit comprised of five Third Generation Filapinas from Stockton, CA. They offer a rippling and corner-turning medley of Donovan’s “Three Kingfishers-Ferris Wheel.” This George Duke-arranged number would also go over well with the Wendy & Bonnie listeners who appreciate a strong jazz foundation placed under soaring harmonies swirling in an overall air of mystery.
“Going to San Diego” by the Pretty People is a new one to me and comes across as an amalgamation of the Beatles, the Beach Boys, Sergio Mendes and Mark Eric. The perirenal yearn/consideration to leave Los Angeles was just as present then as it is now. They state their intention to flee “soutless L.A. before the bitter end.” The Pretty People also released an entire album of jazzy harmony pop in 1969 that was produced by Dot Records’ founder and commander Randall Wood. Their “Song Rider” appears later on and includes the striking opening image: “Barreling down the highway/Donut & coffee…a truckstop” as it rides a bubbling organ and surging bass to make it to and in L.A. town. Big and bursting Buckinghams-like horns send this song over the top and down into the valley of dreams and despair.
During the most musically wonderful of decades, the Golden Coast was teeming with producers, engineers, arrangers, labels and musicians who acted as conduits for the abundant California creative energy. They utilized the studio as an instrument and sent the sound in different and unpredictable directions. Overall, it's the alluring and vibrant sound on the verge of making it by groups who quickly appeared & vanished before and during the great unraveling. While none of these recordings landed in the national Top 40 or even bubbled under in the Top 200 and some never released, they all continue to shine over a half-century later as they resurface and come to light.
Further explorations:
Book A Trip - The Psych Pop Sounds Of Capitol Records
Book A Trip 2: More Psych Pop Sounds Of Capitol Records
Andrea Carminati (Guitar, Vo.), Andrea Facheris (Bass, Vo.), Marco Facheris (Drums, Vo.)
Hakan, which is Turkish for Supreme Ruler/Great King/Emperor, reigns supreme on their fourth full-length. The band hails from tip-top Northern Italy and is from the vibrant and viable city of Bergamo to be exact. Bergamo is located just south of the Italian Alps and only 20 miles from the border of Switzerland. The trio could be characterized by their direct and straight-up-the-middle sound that immediately brings to mind Screeching Weasel and the Marked Men. There is also an European inflection to their English vocals that recalls the Richies, while the music evokes (power) trios like Hüsker Dü (Warner-era), Scared of Chaka, the Livermores, the Riverdales and the Lifeforms.
Spanning the Globe
Perhaps influenced by their reemergence as globe-trotters, this album presents their lyrics going out beyond their previous insularity and towards a more stabilized and expansive worldview. They also exhibit a Romantic quality and somewhat hopeful outlook in their lyrics. In fact, I have not heard this approach of delivering remarkable melodies hinged upon a wall of jack-hammer guitars so successfully executed since the early years of the Smoking Popes.
Hakan Manifesto is their first album produced by Matt Bordin of the Mojomatics after two albums helmed by Jeff Burke of the Marked Men. The addition of Bordin has created a little more space around their mean & lean sound and has them stretching out in good ways. Thankfully, they have been able to retain a scruffy and scrappy edge that remains true to the sounds and ethos of the early Ramones and their own formative years.
Thrown for a Loop
The opener “Hakan is a Dream” for some reason reminds me of major label Meat Puppets and “Backwater” in particular or even the general gruff vibe of New Jersey’s the Ribeye Brothers. Next, these bike punks ride the fine line between punk, power-pop and rock ‘n’ roll on sensational and streamlined numbers like “Just One Kiss” and “Number One.” When I was watching their “Just One Kiss” video, I noticed the featured bike cafe looked familiar and then I recall it was the “Bikefellas” cafe where Larry Livermore appeared and presented in 2019.
Bike 'n' Roll
They are indeed into bicycling as they make clear in their ode “Bike Life.” When they intone: “I don’t care about your Ultegra/Cause it’s the leg yo,” they are referring to a bicycling “groupset” aka components made by Shimano, while also making a statement that it’s never about the equipment. Mentions of descending Maresana Hill (a huge hill north of their home city of Bergamo) before somehow reaching the comune (township) of Alzano Lombardo and maybe the frazione (subdivision) of Nese appears later in their travelogue. The stripped-down guitars continue to churn as striking numbers like “Turkish Delight Boy” (inspired by a trip to Istanbul) and “Ruined Day” recall Ben Weasel’s underrated Fidatevialbum from 2002. On a related note, “Funny” contains the deadpanned realization, “Hakan on Lookout, it's not 94” as the music races ahead.
Hakan III
The usual Aldi Weirdness
In “Good Night” they take a page out of Sam Cooke’s “Wonderful World” book about studying philosophy and attending lectures on architecture in order to win one’s affection. Later, there is a mention of enduring the long queue at Aldi in the name of love. (Who knew a decade back that Aldi would now have such a presence in the U.S.A. due to the inflated inflation?)
It's An Uphill Climb To The Bottom
After 3 albums of somewhat scattershot lyrics, Hakan have reached a new echelon with their songwriting. Along with their long-standing passion for Turkish popular culture, they adeptly extract parts of their day-to-day quoitain experiences and throw them into the lyrical blender. They also continue their self-mythologizing by celebrating their own band with thematic songs, while pointing out local color and local characters. In “Hakan Manifesto” the particular line: “We are fans of Roby Pooh” had me discovering the famous Italian band Pooh and their keyboardist Roby Facchinetti (as they were not included on the 60’s Beat Italiano compilation). These boot-beat merchants have been going since 1966 and were actually named after Winnie-the-Pooh!
Wahu!
The cadence and structure of “Stezzanism” reminds me of the Freezing Hands’ “Comeback Kid (Hits the Skids”), while the speedy vocals and unbridled energy of “I’m Burnt” spurred me to bring out the the Basement Brats discs on the shelf. The closing song, “Here With You” moves them in the Automatic direction of Jesus & Mary Chain.
Hakan Manifesto has them reaching new lyrical plateaus, while thankfully retaining their propulsive and captivating sound. Along with their inherent knack for seesawing melodies, they have intertwined their upgraded lyrics with an even more pronounced pop sensibility. All of these elements are combined to make this their most fully-realized album yet.
While recently in the greater Los Angeles area where San Bernardino, Riverside, L.A. and Orange Counties overlap, the only thing I could listen to in the rush of traffic was classical on KUSC. However, recollections were spurred along congested Interstate 10 as it continued east into San Bernardino-namely the music of the Turtles and Frank Zappa. It is in this no man’s land that the California air takes on an overall darker hue due to pollution and the industrial nature of the area. (When I left California in 2007, I realized that the Jan and Dean I was listening to driving up Kellogg Hill in West Covina did not mean anything at all to California.) With apologies to Reyner Banham, the congested raceway heads into San Bernardino where the all-encompassing built environment sprawls outs indiscriminately beyond human scale.
Happened to be in the Area
Plain Wrap were another group who acknowledged and sardonically expressed the frustration and futility of the rat race in their song “Traffic.” They were a Dickies-Descendents-ish melodic punk band from Placentia who had one album released by Enigma Records in 1985. The song succeeds in almost articulating the seemingly incomprehensible by taking the route of humor. Their lead singer Dallas Don Burnet would later go on to release a pretty much unknown, yet totally solid solo album in 2012 under the clever and optimistic title Cancel My Disappointment.
Anyway the Wind Blows
It’s only in the last five years that I have finally started to "get" some of Zappa and the Mothers of Invention due to choice selections played on WFMU’s Big Planet Noise. Freak Out! is actually a lot more song-oriented and structured than the all-out Dada and theatrics that I was expecting. Being in the Mothers’ old stomping grounds, one can still sense the major swirls and their influences in the air. In fact, “Anyway the Wind Blows,” “Trouble Every Day” and “The Orange County Lumber Truck” continue to speak volumes to the situation here in the ‘20s. Further, Is it any wonder that Flo & Eddie would go on to join the Mothers of Invention? While the aforementioned musicians take vastly different approaches, they all share the same impetus to encapsulate and express the absurdity of this way of life with some much needed sense of levity and perspective.
Still Feeling the Aftershocks
Vocal group harmony was such a prevalent and pervasive influence on the Mothers, that they naturally became latter day champions of a sound that was then not exactly au courant according to the avant garde, the self-proclaimed hip and the cognoscenti. Including “Go Cry on Somebody Else’s Shoulder” on Freak Out! and releasing an entire concept album Cruising with Ruben & the Jets were pretty bold countervailing moves for ‘66-’68. Cruising... could also be heard to be all part of a continuum and a conduit to a sound both earthy and otherworldly. (With their ardent love and devotion to the streetcorner sound, Frank Zappa and Lou Reed had more in common than the musical adversaries were both willing to admit.)
Beyond Pledge Drives
With a majority of its singers, creators and original listeners no longer around, the original Doo Wop groups and sounds have been largely cast aside in its country of origin once again after its last resurgerence during the reissue heyday of the ‘90s. The recordings were then encoded onto compact disc and successfully sold in the form of Rhino’s Doo Wop box sets or even the numerous "discount" releases offered by Collectables. PBS did what it could at a national level with their pledge-drive specials, while Jerry Blavat and Art Laboe kept the sound alive on regional levels as legendary disc jockeys and personalities. As far as Doo Wop in this century, I have fond memories of the Mighty Echoes opening up for Jonathan Richman at Safari Sam’s in Hollywood in 2007. One of my favorite Doo Wop-influenced acts here in the ‘20 are Jintana & Emeralds who hail from Tokyo and have a highly-stylized, balmy and dreamy sound.
Jintana & Emeralds' 2nd full-length Lp from 2022
Rama Lama Ding Dong
The harmonies of the vocal groups were able to soar thanks to a strong melodic foundation being efficiently propelled by continuous triplets galore. Nonsense syllables provided both hooks, while zig zagging the songs in different directions and echoes ricocheted off the walls. Unbridled joy and sorrow and everything between is expressed by the lyrics. Lastly, the layered vocal parts combined with minimal instrumentation added dimension, shade, contrast, while also dispelling the darkness. Successfully combining these moving parts resulted in urban hymns of spare elegance and deceptive simplicity that expresses an unmistakable American sound. Sometimes it’s austere and subtle, other times over-the-top and enthralling and occasionally the sound lifts off the streets to the stars. With lyrics typically focusing on elemental aspects that are usually taken for granted (e.g., moon, stars, love) it can hopefully spur listeners towards retaining a sense of wonder. Overall, Doo Wop is an evocative, atmsopheric nightfall music, with the best exploring emotional heights and offering transcendence.
West Coast Doo Wop
An entire compilation of rare Los Angeles Doo Wop is not something you see usually featured and/or reviewed in this digital age. Give credit to Ace Records for releasing this well-deserved and designed collection. One of the standouts is Arthur Lee Maye’s “Last Night.” This previously unissued rarity recently surfaced as an acetate provided by its producer Arthur Wright. The singer of this dusty diamond, Arthur Lee Maye, also had a stellar career in Major League Baseball as Lee Maye. Immediately following is another obscurity involving another leading figure. “A Long Time Alone” showcases Danny (aka Sly) Stone’s “golden child” talents. This deeply affecting record is the beginning of a long journey with many ascents, descents and detours to come.
Lee Maye in the Astrodome
Some “Last Date” piano stylings break up the formula and sets “Eternal Love” by Cordials apart from the usual fare. The group, who transplanted to L.A. from Boston, would later go on to change their name to the Stompers and record for Landa Records. (On a related note, Landa featured some of my favorite graphic design that has ever appeared on a 45 record.) Surprisingly, the Cordials also featured Bobby (Boris) Pickett of “Monster Mash” fame in their lineup. The Dandevilles’ “Psychology'' includes almost as many “Don’t Wannas” as the Ramones, while “Jolly Green Giant'' has the Valaquans testing the rock ‘n’ roll waters before before later becoming an Impressions-ish soul combo. Another highlight is the striking “Hold Me” by Dorothy Berry & the Swans. Dorothy Berry was the wife of Richard Berry of “Louie Louie'' fame. In addition, Richard Berry himself is said to provide the basso profuno on this Vanco release that was composed by Etta James. Another intriguing element is the wiry, taunt and pronounced guitar that sounds like a jaw harp heard throughout the recording.
Call and Response
The Jades’ soothing “When They Ask About You” is reminiscent of the Flamingos’ “Only Have Eyes For You” with their take on the “doo-bop sh-bop” background responses. Elsewhere, James Lee Washington’s “I Need Somebody” jumps into this century in sensational fashion. This 1962 mini-masterpiece evokes Ronnie Spector and her wonderful “whoa whoa whoa'ing”, as she channels her inner-Frankie Lymon. Coincidentally, James Lee Washington’s real name is Morris Chestnut and he’s the father of actor Morris Chestnut Jr.-who made his film acting debut in Boyz n the Hood.
The Road to Los Angeles
Not everything is top-tier, but overall This Love is Real is a solid retrospective that plays well on the whole with its superior sound quality sourced from the original master tapes. The labyrinthine history of these obscure records and groups is straightened out in the comprehensive liner notes accompanied by fitting graphics and rare photos. Again, Ace Records is due recognition for their commendable coverage of this mostly overlooked, but pivotal era of Los Angeles music history of Doo Wop transitioning to Soul.
Desert Center of Attention
Moving over to Phoenix, the Tads were a versatile combo led by singer, songwriter and guitar player Leroy Fullylove.Released on Valentine’s Day 2023, this collection presents 30 tracks, recorded between 1956 and 1962, straddling the blurry line between R&B and vocal group harmony. The Tads were always my favorite when they previously appeared on Arizona-centric various artists collections like Desert Doo Wops and Sha-Boom Bang! It’s great to have this well-sequenced definitive collection including rarities, demos and alternate takes, which reveals additional aspects, facets and the prodigious talents of Leroy Fullylove. They were a classic vocal quartet with solo lead and harmony backing who both played in and overlapped the prevailing styles of the day. Their records spanned the range from the raucous and rough-hewn through melodic pop to brooding balladry. Leroy Fullylove and the Tads could even be compared to the legendary Nolan Strong & the Diablos.
Ring Chimes
They have the distinction of being the first Black group to record for Randy Wood’s Dot Records and also the experience of auditioning for Bumps Blackwell’s Speciality Records in Los Angeles. The Tads got off to a promising and quick start in 1956. The group’s first release, “The Pink Panther” was composed and produced by future legend Lee Hazlewood. Hiding on the flipside is the hushed and heartfelt “Your Reason” that reflects the group's gospel beginnings as the Crusaders. This ballad contains the imploring line sung with candor: “I tried so hard to do my best.” “I Want to Know” continues their sound in the realm where the secular seems somewhat influenced by the spiritual. The ultra-catchy “Ring Chimes” with its skip-a-long tempo and underlying tropical rhythm could have been on one of the aforementioned Rhino box sets.
“Ring Chimes” is actually a cover from an Ohio-based group named the I.V. Leaguers who recorded for Dot Records. The song would also be covered by the Cadets at an even brisker pace. “She is My Dream” would have benefited from being played as a speedier clip. Still, it would be quite the cover song for a current roots-oriented outfit. “Wolf Call” is not the Elvis number from Girl Happy, but sounds more like a Leiber and Stoller vehicle for the Coasters and even locates itself in Los Angeles with the line: “Wella...Here I Stand on the Corner In Downtown L.A." The dusky “Me, My Shadow and I” features a menacing and looming guitar augmented with the prominent background accompaniments most likely influenced (once again) by the ones heard on the Flamingos’ “Only Have Eyes For You.”
The Tads with Lee Hazlewood "The Pink Panther"/"Your Reason" sessions in 1956
Both Mainstream & Marginal
The collection offers some surprising departures like the rockin’ R&B heard on the previously unreleased “I’m Sorry Little Girl,” and even country inflected numbers like “It’s Been Nice” which was composed by Leroy Klingman (who was a teacher by day and owner-operator of Viv Records at night). The uplifting “Glowing Moon” sounds like another lost classic that taps into the eternal. Two takes of the uptempo proto-soul of “One of These Days” has the outfit sounding like the near future in 1962. With its interstellar harmonic blend, “Jumpin’ Over the Moon” exuberantly achieves lift off in the midst of the space race. Lee Hazlewood was back in the picture as this blaster was launched by his short-lived Tandem Records label in 1961 and has the Tads sounding in fine fashion on this Fullylove composition.
For the Accelerated Ages
The groundbreaking Tads were able ot put Phoenix on the map in the ever-evolving world of Doo Wop and R&B in the late ‘50s and early ‘60s. They helped set Phoenix-area music in motion and made headway for those who would come after them like Eddie & Ernie, Dyke and the Blazers and even the Servicemen. After years of being prominently featured on compilations, Your Reason offers a closer look and more complete view of a group and their leader Leroy Fullylove. The vocal harmony/R&B group could be defined by the all-too-familiar missed opportunities, but most of all they should be heard and recognized for their striking, wide-ranging and timeless recordings forged as things were moving in so many directions.
Mike Rogers reminded me of this compilation and my 2002 review when he played a track by Strawberry Mud Pie! on his weekly WFMU show. I also noticed that the Hot Shots' contribution "I'm in Love" was co-written by Deke Dickerson and Yuichiro Matsushita and was later re-recorded as "I'm In Love With You" and appeared on the Hot Shots's 2009 album Teen Street.
It’s always exciting to check out the Japanese music web pages to see what’s going on in a music world one day ahead of the Western world. Yet it’s ultimately frustrating because it’s either a big expensive ordeal to import the music or the language barrier results in a possible e-mail imbroglio. What does one do when they want to hear the full versions of songs by the Apricots (Mama Guitar side project) on this side of the Pacific? Well start with Bomp Mailorder who have made this Barn Homes/1+2 collection a readily available compilation at a domestic price. While there’s nothing as good as Sunnychar, Supersnazz or Mama Guitar, it’s a nice variety pack (largely influenced by the aforementioned groups) of oversea/underground Japanese female-fronted pop circa 2002. Great to play while dreaming of visiting the closet-sized Tokyo record shops some sunny day before heading to one of their early evening shows.
The second volume of Legend City is slated for release sometime in 2023! Here are my 2001 impressions of the inaugural volume:
Recently, I bought the long-awaited Legend City: Ferocious Mid '60s Gems from the vaults of Phoenix's Viv-Debra Recording Studios 65-67 which was released (on vinyl and CD) by Dionysus/Bacchus Archives back in February. For me, it was a catch-up lesson in local history and sound. (Whenever I drive by Tempe High School, I will now think of the Hearsemen (who are featured on the front cover) and who later "updated" their name to the Hobbit in '66.) Dan Nowicki contributed some deeply researched, informative, and well written liner notes to this collection. All of these recordings were produced in Viv-Debra studio which was the "budget" studio that was founded by Lee Hazlewood. (The other competing Phoenix studio at the time was Audio Recorders-where Phil & the Frantics recorded.)
In particular, two songs from the Solid Ground really stand out to me on this disc. The Solid Ground hailed from the (now) "edge city" sprawl of Mesa. Their "Sad Now" starts off down a nicely shaded palm & citrus tree-lined folk-pop verse/la-la chorus street and then quickly crosses a stucco scorching yellow-to-red guitar freakout intersection. Then the song continues through a tinted cool shady side street neighborhood until burning some cheap Arco gasoline while punching across another wide intersection filled with the tire popping shards of a raved-up & out guitar. The contrasts in this song work like rain cleaning up the brown smoggy skies. With now completely clear skies de azul, the mountains have re-appeared on the wide horizon while the intro-jangle of their "She Played With Love" rings out. Their following song features a sound like '66 Chad & Jeremy singing for the '65 Byrds. This one is a real lush sunburst sparkler from the desert dry cactus lands of Arid-zona.
Overall, a commendable regional compilation of originals from an area & era that has never been covered before. I'm looking forward to possible future volumes of Legend City (and also a re-issue of the Think of the Goodtimes:1960s Tucson Sound). Believe me, you're not going to find these records in a Valley of the Sun Goodwill or St. Vincent dePaul.
