Shirley Ellis-Sugar, Let's Shing-A-Ling / Soul Time With Shirley Ellis

While best known for her playground diddy, “The Name Game,” which took on a life of its own and made her a household name for a brief 1965 moment, Shirley had an extensive and wide-ranging career that stretched from 1954 to 1968.  Before leaving the music industry, the self-taught and unsung musician left on a strong note with this overlooked, but culminating 1967 Columbia album that put an exclamation mark on her career.

The opening number “Sugar, Let’s Shing-A-Ling” prompts the thought that as a dance, the shing-a-ling was probably not well known outside of discotheques and gyms of Northeast cities, until the Human Beinz mentioned it in their 1967 update of the Isley Brothers’  “Nobody But Me.” Following this grand entrance, is the swaying sweet soul of “Back Track” which was co-composed by fellow Columbia Records labelmate (at that time) Lou Christie. 

Her powerful composition “Soul Time” will get you right back on the dance floor and as can be predicted, it’s an enduring classic on the Northern Soul scene. “Soul Time” would also later be reworked by Madeline Bell, just a few months after Shriley’s release. It was also covered in 1968 by the Mystics-Hong Kong’s only ‘60s soul group comprised of musicians of Portuguese and Cantonese descent! While “Soul Time” only reached #67 in the U.S., Filipinos recognized the record has what it takes and more and it went all the way to #4 in the Philippines. 

French EP featuring the photography of Sandy Speiser

The album features stunning and striking photography from Sandy Speiser-an in-house photographer for Columbia Records who warrants further investigation. Also glaring, are the uncredited studio musicians and backing singers whose contributions are lost to the mysteries of history or until the surfacing of recording sessions contracts. Overall, contextual information is scant beyond the fact the album was produced & arranged by Charlie Calilleo. (On a side note, when Shirley performed live at New York’s Basin Street East in 1965, she was backed by Mitch Ryder’s Detroit Wheels who were called out for not knowing her material by Billboard’s Herb Wood in a live review.)

Jet Magazine-June 15, 1967

It might seem she ventured a little away from her stock-in-trade pop soul sounds on this album, however Ellis was always adventurous and not afraid to cross genres. The beauty from the Bronx first started singing with the jazz-calypso combo the Metronomes in 1954. A decade later, she realized her first hit with the unvarnished “The Nitty Gritty,” that successfully employed crowd sounds effects like “Fingertips-Part 2” by Little Stevie Wonder. George Harrison was said to be a fan of this live-wire record and it was later covered by the Hollies. She would follow by recording a dashing and Latin-inflected cover of “Stardust.” Yes, this album is a slight shift in direction and sophisticated turn towards the supper club scene, but it also showcases her aforementioned versatility. “How Lonely is Lonely” certainly spotlights Ellis' magnetic and compelling qualities that would certainly translate to 1966 Atlantic City. The adept singer also delivers a lush and lavish rendition of the irresistible 1965 Barbara Mason hit “ Yes, I’m Ready.” “Music and Memories” has been compared to Amy Winehouse. Their vocals do bear an uncanny resemblance as astutely pointed out by writer Harry Young. It’s also a refined work of production pop enhanced by female backing vocals and moving orchestration. Fittingly, the album fittingly closes on one her compositions “To Be or Not to Be.” She hits her full stride as both a composer and vocalist on this lovely song that works on all levels.

Let's Shing-A-Ling / Soul Time With Shirley Ellis was lost in the tidal wave of 1967 releases as it was far from the vanguard, but it has aged well to be a solid listen nonetheless. While it may have been only 2 calendar years between “The Name Game” and these recordings, there were seemingly decades of musical and technical changes packed between 1965 and 1967. Her third and final album does reflect some of these transformations and her name alone calls for listening for those who have only heard her big 3 oldies radio hits "The Nitty Gritty,” “The Clapping Song,” and “The Name Game.” Those who wish to further explore these additional aspects and dimensions, will encounter a compelling 30 minutes of Soul Time.

 

Photograph by Sandy Speiser

Freezing Hands-Empty the Tank

Current Phase If you need to get up to speed with Freezing Hands, now’s the time as the wheels are already spinning on Empty the Tank. Their fourth proper album continues their course, while also capturing their forward momentum and revealing new factets. Like the lightning quick album releases of the mid-sixties, this has surprisingly arrived shortly after 2022’s It Was a Good Run. With its similar themes, constant through-lines and overall continuity, Empty the Tank could even be considered conceptually as a Double Album, in the grand ‘70s tradition, when paired with its immediate predecessor. They have definitely honed their sound and once again found their distinctive spot between pop, punk and rock 'n’ roll. In addition to delivering memorable hooks, melodies and harmonies last heard in the late ‘70s power-pop heyday of the Nerves, 20/20 and the Beat, they also venture into '60s pastoral pop that somehow connects Tucson’s sunny Reid Park and parking lots to the Zombies’ "Beechwood Park" through the mists of the Kinks’ “Village Green.”

Giving the Youngsters a Run for their Money Uni Boys and the Reflectors from Southern California and the Whiffs from Kansas City are currently leading power-pop into Century 21. All of these combos feature 1979-ish radio-ready melodies and a compressed sound that is laced as tight as Shoes. In contrast, Freezing Hands are able to add a spaciousness in their sound made by lived experience, years of work and exposure to a wider range of influences. Musically, their harmonies are able to give their sound an expansiveness that matches their panoramic Tucson surroundings. On the production side, their latest is once again presented in suitable mid-fi stereo and bears the production trademarks of Midtown Island Studio. 

Dateland Records Recording Stars

They project a rare symmetry in their sound. However, the abundant hooks, harmonies and melodies bely and contrast with the lyrics. Underneath the hood are daring, intricate and integrated lyrics, steeped in the Kinksian tradition and not afraid of addressing the state of oneself, Tucson and the world.  Moreover, the lyrics do not expect, nor receive any answers.

"When We Get to Tucson You'll See Why" ("Thumbelina" by the Pretenders) Perhaps some of their sonic vastness and lyrical depth can be attributed to the symbiotic relationship between Tucson and the band. The band is imbued with a certain Tucson-ness, but it’s not provincial or a yearning to move to the costly coast. It’s a certain openness known by those who have lived there and dismissed by those who don’t know, don’t value or don’t care. There is indeed something undefinable in the desert air and its live and let live ethos that can spur creative pursuits. Reflecting the unpredictable atmosphere of Tucson itself, Travis writes lyrical assemblages with straightforward, skewed and serpentine perspectives all clashing, converging and co-existing within the hooks and harmonies. Overall, there is a magnetic pull that encourages further exploration and engagement way beyond the usual cycle of point, click, skip ad, and scroll on.

Moving Targets

As previously mentioned, there’s an even stronger slant into the Kinks as heard on side one’s “Sunny-Free” and “For the Taken.” Further, they offer their own distinctive and dramatic take by applying sardonic character sketches and studies to their own locale. While the geographical settings for the bands drastically differ, their milieus overlap as Freezing Hands trade out football (soccer) for baseball, pubs for strip mall dive bars and rolling bucolic greens for parking lots, foothills and flatlands sprawling with red tile roofs. Until a recent revisit of those post-Turtles Flo & Eddie records spurred by reading Mark Volman’s recent book Happy Forever, I had not previously perceived Flo & Eddie's significant influence on Freezing Hands. It all makes sense as Ray Davies produced Turtle Soup by the Turtles.

  TONIGHT

“Wax Cups” evokes both "Drivin' Around" by Raspberries and the magic feeling that can still be felt when one returns to the Pacific Coast and observes the breaking waves and feels the cool of those misty California nights. In addition, it’s also a celebration of the option to go out once again. Meanwhile, “High Diver!” expresses the anticipatory aspects of that power-pop belief in the literal and figurative TONIGHT with the appropriate levels of top-down buoyancy in the grand tradition of Raspberries and ‘70s Beach Boys with the keys adding a Cars-like gleam. The lyrics shift easily from the slapstick and satirical to the clever and contemplative before twisting back on themselves. 

Freezing Hands live at the Yucca in Tempe, AZ (March 2023)
L-R: Kevin Conklin (bass), Travis Spillers (guitar, lead vocals), Matt Rendon (drums, backing vocals) Scott Landrum (keys, backing vocals)

Inherent intuition Upon first hearing the song title announced by Travis when they played the Yucca Tap Room in Tempe last March, I thought that “I Was a Teenage Piece of Shit” was going to be an “ID Slips In” exploitative throwaway. It’s actually a reflective rumination on redeeming yourself in the universe for past harms done to others. It also actually flips the script on the usual narratives where oldsters gloat about how much they got away with in one’s youth. It concludes with the never ending quest “To Be a Much Better Human,” while musically it’s somewhat of a sweeping continuation of “Here with the Babies” from the preceding album. The song also displays their intuitive sense of combining “inside baseball” details with harmonies and relentless Stooges' “1969” inspired handclaps. Matt’s remakrable drumming in Freezing Hands recalls the great Clem Burke and the late Phil Seymour. (His propulsive, yet intricate style of beat-pop-jazz drumming has to be seen and heard live.) Overall, it’s a brave display of their growth and development and knowing when one has to take things head on or when one needs to consider approaching from other angles. 

Arrangements & Rearrangements

Concluding side one is the cheeky “Got Me a Friend” which could be a concert closer and/or slotted in the upcoming movie Peter Rabbit 3: Naughty by Nature during a festive montage. 

Most groups typically front load their albums with the uptempo numbers up on side one to make a grand entrance and grab attention.  Freezing Hands are not most groups as they work in reverse with the speediest and catchiest numbers on side two. 

Beat Boys in the Jet Age The album takes off on side two and goes from strength to strength, while prospecting similar power-pop territory as the Deathray Davies, Flop and the Lolas. “Destiny, Destiny” is total next phase new wave rock 'n' roll combining 20/20, the Taxi Boys, Greg Kihn Band with Look Sharp!-era Joe Jackson. The on-target lyrics delve into notions of changing fate in the face of the pre-ordained. “Disappearing Bug or Horse” returns them to the valley of the Dickies merging with TVT-period Guided by Voices. Besides the aforementioned American influences, there are also hints of UK mod revival sounds like the Look UK and the Lambrettas-especially when those bands incorporated Broadway showtunes influence like the Look UK covering “Tonight” from West Side Story.

 

Topsy-Turvy Self-referential songs are tricky as they can work or they can fall flat. Thankfully “My Guitar” is more Young Fresh Fellows than goofy Too Much Joy. “Taxiing” raises the question: “Is that a riveting AC/DC riff by way of Hoodoo Gurus?” "Friend-O" unfolds as a rollicking barroom morality play and has the galloping kick  of “Kodachrome” by Paul Simon.

The enthralling “Nothin’ in the Tank” is this album’s tour de force. The song is already incorporated in their live set and immediately stood out at their aforementioned rare live show at the Yucca in Tempe last March. The “canvas sneakers power-pop” of the Nerves and the Beat arrives on the forefront. It’s a mini-masterpiece with layers of whirling vocals and cascading melodies before finishing in a round.

Nothing in Reserve Under constantly changing circumstances, Freezing Hands have remained true to their ambitious and distinctive approach of spanning musical decades to advance their harmonic, melodic and enduring sound of their own making. All this is made possible by their resolute commitment to rehearsals, recordings and live shows on top of the push & pull of workaday life. In a way, their undeterred pursuit to create their own captivating sound and realize their visions in the face of everything else are also major characteristics of the Old Pueblo of Tucson itself.

Freezing Hands-photo by Ed Arnaud
L-R: Kevin Conklin (bass), Travis Spillers (guitar, lead vocals), Matt Rendon (drums, backing vocals) Scott Landrum (keys, backing vocals)

Los Pakines

The infectious and varied Peruvian cumbia sound of the ‘60s & ‘70s has experienced a remarkable resurgence in the last 10 years with a high tide of reissues. Legendary labels like Lima’s Infopesa (Industria Fonografica Peruana S.A.) and reissue labels like Madrid’s Vampisoul, who acquired the entire Discos MAG catalog in 2022, are some of the major movers. After some excellent overview compilations like Vampisoul’s Cumbia Beat volumes and Infopesa’s Cumbias Chichadélicas: Peruvian Psychedelic Chicha, the labels are now offering single artist anthologies and individual album reissues in response to the recent surge of interest in this music. In 2015 Infopesa released this Los Pakines collection, which includes their first two albums Los Pakines Y....."Pasto Azul" and Los Pakines in their entirety. Further, the master tapes were utilized to present both albums, originally released in 1973, in the highest fidelity possible.

Los Pakines started as a surfy instrumental group with their influences ranging from the local Lima instrumental combos like Los Belking’s, Los Jaguar’s, Los Holy’s, Los Destellos (the Flashes) to international instrumental purveyors the Shadows and the Ventures. It has been documented that Infopesa owner Alberto Maraví swayed them to augment their instrumental sound with Peruvian cumbia-itself an infectious blend of Cuban guaracha and Colombian rhythms. Brothers José "Pepe" Torres Liza and Alejandro "Pakin" Torres Liza started the band that remains active to this day. Alejandro composed a majority of their songs and played the timbales, while brother José "Pepe" provided the fluid lead guitar adorned with romantic flourishes. Alejandro's churning click-clack percussion establishes the solid rhythmic foundation for the interplay between the rhythmic and lead guitars. Their melodies go into some unexpected directions-sometimes turning corners unto entirely new melodies.

Things get going on "Ramo de Rosas" (“Bouquet of Roses”) as the bucking percussion kicks in between the driving guitar sounds. Poppy “Ya, La, La, La” vocables are hinged upon serpentine guitars that coil through tangles of tropical psychedelia on “San Luis.” Similar vocal shadings wrap around “Solitario,'' a jaunty tune that takes a circuitous route around “Theme from a Summer Place,” “Blue Moon” and even “The Bristol Stomp.”  Reflecting local color and history, they even named a song after the Peruvian 18th-century entertainer & mistress Micaela Villegas, known as La Perricholi. “La Perricholi” is a joyous, exquisite and percolating number from their debut album featuring the clicking sound of the guacharaca, a percussion instrument made from a small palm tree and also known colloquially as a scraper. The guacharaca also appears on “Tania,” reminding me of ? and the Mysterians covering “The Theme to Hang ‘em High.”

They began to get harder and heavier on their second self-titled album as unison vocals are incorporated on “Tómalo o Déjalo” (“Take or Leave It”) and mirror the North American West Coast groups like El Chicano and Santana. “Fue Una Mentira” (“It Was A Lie”) is a shimmering vocal tune featuring a liquidy guitar sound made possible by delay. The song is also reminiscent of the Ghetto Brothers, the early ‘70s Puerto Rican group from the South Bronx. The highly skilled Los Pakines had domestic success for decades and also achieved international acclaim in the ‘70s & ‘80s-as heard on the 1975 live album Los Pakines En Miami. Their songs, both simultaneously foreign and familiar, evoke distant coastal lands and cross-pollination as well as departures and landings. It is no surprise their records spread all over Latin American and are now being rediscovered. Their captivating sound helped create a golden musical era in Peru and their recordings continue to take flight 50 years later. 

The Highmarts-World Tour: Greatest Hits + Dodgy Demo

A rush of excitement and anticipation came over me when I first saw this release. I have been following the Highmarts via their singles and now Soundflat Records (of Germany & Japan) has stirred things up during this most wearing stretch of summer with World Tour.  According to the Tokyo Weekender, the Highmarts are the future of the Tokyo garage scene. The current version of the band includes Atsushi Hagimoto (Bass/Vocals Support), Minako Ishikawa (Drums/Vocals Support) and guitarist and singer Suzu, who remains the founding member of the band. Past line-ups included Karin, who currently drums for the indie-pop wonders Hazy Sour Cherry. The album cover is notable for featuring a new band logo with a Zenith “Z” splitting their name. (Zenith was a major American consumer electronics brand before being bought by LG in 1999.) Actually, the album's graphic design directly mimics the Gizmos' World Tour 7" released in 1978. Also of note is the very cool '90s Buddy Holly sweatshirt worn by drummer Minako Ishikawa in the band photo.

Notice the Golden Cups lettering

Greatest Singles I recall seeing their first single “I Want You Bad” prominently featured at Time Bomb Records in Osaka in 2019.  The single, produced by Sally Kubota, also includes a cover of the Gestures’ “Run, Run, Run.” Fittingly, the scampering “I Want You Bad” begins the World Tour album. This album title was directly inspired by the trio’s recent touring of France. It’s heartening to know that the Japanese groups are once again whirling around on overseas tours. The first side of World Tour consists mainly of their originals, which previously appeared as singles. Also included are some live versions of their singles like “Hey Boy” and a few Japanese Group Sounds (GS) and American covers. They definitely bring out the brightness in the old standard “CC Rider/Jenny Jenny.”

         

With its CCR-ish intro and Beatlesque closing chord, “Hold Me” is a first-half highlight. This single, originally issued by Mexico City's Chez Nobody Records, demonstrates their current ability to project dynamics and dimensions by ramping up backing vocals, while tracking their ongoing direction. I'm guessing their current approach has also been sparked by their perceived influences-ranging from U.S. ‘60s legends the Shangri-Las, the Ronettes, the Luv’d Ones as well as ‘90s underdogs like the Prissteens to even the eyelined garage sound of 15 years ago whipped up by the Raveonettes and the Detroit Cobras. In turn, it seems like Highmarts are inspiring current Japanese trios such as the Questions (Okinawa).

Dodgy Demo The second half of the record is the complete Dodgy Demo which was originally released as a limited merch table cassette. They take “Test Drive” by Takeshi Terauchi and Bunnys out into Davie Allan & the Arrows fuzzy mirage territory. A song titled “That Summer Feeling" was one of the first things I noticed when previewing the track listing. Could it be the yearning Jonanthan Richman song? It's not the Jonathan Richman song, but an atmospheric, distorted and swirling original by Suzu and sung in Japanese. Lovely melodies and harmonies shine through the sheets of sound-resonating somewhere between Slumber Party, Red Kross and the Amps. I also hear faint echoes of "Voodoo Doll" by the Queers in the melody. Up Next The catchy “I’m So Sorry” could be their signature song as it’s a clear standout. The Highmarts are incorporating a much stronger power-pop element (a la the Baby Shakes) which solidifies, diversifies and enhances their sound. This style truly suits them. “It’s All Over Now” dramatically unfolds next.  Fittingly it’s a spirited theme song to an imaginary movie that conceptually exists only as a poster design concept from Rockin’ Jelly Bean. These most recent finely tuned recordings indicate they are punching through to the next level. Overall, World Tour presents the adventures of the Highmarts searching and finding their own original sound. It also might be the garage rock record of the summer.

Atsushi Hagimoto (Bass), Minako Ishikawa (Drums) and Suzu (Guitar, Vocals)

The Wildebeests – Go Wilde In The Countrye

With 1997's Go Wilde in the Countrye, the Wildebeests arguably released one of the best garage rock albums of the ‘90s. The Edinburgh, Scotland trio are one of those groups, like the Cynics, who took the best from ’66 & ’77 and beyond to forge their own distinctive sound. While the unsung group had the courage to set out on their own path during the ‘90s garage revival, by and large their recordings have somewhat unjustly slipped through the cracks over the decades. The band features Lenny Helsing of the Thanes, bass player John Gibbs (the Kaisers, Holly Golightly Band, the Masonics) and vocals/guitars provided by Russell Wilkins. Wilkins is also a key figure in the Medway/Billy Childish scene and has extensive experience with the Pop Rivets, Thee Milkshakes and the Delmonas.

They were a last minute fill-in for the Kaisers at the first Las Vegas Grind weekender in October 1999.  I remember attendees being pretty crestfallen as they were anticipating seeing both the Neatbeats and the Kaisers on the same night at the same festival. They whipped the crowd into an instant frenzy and canceled their disappointment as soon as the first chord was struck. Their stage command and incendiary, yet melodic sound carried them through to impress the international audience and set up things perfectly for the Neatbeats (who played at the peak of their powers).  Russell Wilkins exhibited a certain savoir-faire with his resolute vocals and stage presence.  Further, he was able to achieve a pretty bold tone on the guitar that both growled and snarled.

The Wildebeests-at the Las Vegas Grind-October 29, 1999

This record encapsulates their sound that is simultaneously raw and ready, yet refined due to the accomplished and astute musicians involved. Their distinguishing characteristic is their ability to achieve a pretty fierce, thick, murky, melodic and full-blown sound within their self-imposed limitations. Additionally, their well-versed knowledge of music is second to none as exemplified by their deep-end covers that truly stretch across the decades of recorded music, while also displaying their propensity towards variety. The rumbling opener “I Need You” is not the Kinks song, but the next one “World Keeps Going Round” was definitely inked by Ray Davies. Next, they explore the unvarnished Pacific Northwest ‘60s sound with the R&B instrumental “5A Gibbs Entry.” The trio also excel at pointed manifestos (“This is My Year”) and determined declarations (“Standing Alone” CD-only).  There is an overall dynamic flow to the sequencing as their standout cover of the Ramones’ “Suzi is a Headbanger'' is perfectly placed between the aforementioned “This is My Year” and “Bad Storm Coming.” By the way, “Bad Storm Coming” sounds like quintessential American moody '60s garage punk. However, it was originally done by London’s Downliners Sect on their 1965 Country Sect album.

Beat & pop sensibilities frequently shine through their jagged sound that sometimes veers off into freakbeat. They also prove they can pull off the ‘40s and ‘50s blues on the old Bukka White/Mose Allison standard “Parchman Farm” and the Willie Dixon/Muddy Waters' vehicle “I Live the Life I Love.” The Wildebeests certainly go much further back into the roots, weeds and bogs than most bands. For instance, “Temptation” is the old 1933 evergreen first made famous by Bing Crosby and they deliver in formidable fashion making it sound like the natural precursor to the rockabilly/garage standard “Jezebel.”

It may be heresy in some quarters, but the Wildebeests go beyond the Medway sound and frankly, no other group sounds like them. Go Wilde in the Countrye captures their forward momentum of the time. It’s also one of those perfect albums to play on the drive home from work. In a way, they presaged the Kent 3, the Embrooks and Reigning Sound with their ability to combine surging immediacy and concision with expansive knowledge and skillful musicianship. Once again, the SFTRI label had the foresight to release another stellar record that has more than stood up and endured here in the '20s. This album should remain on the forefront when it comes to ‘90s garage rock.

L to R: John Gibbs (bass), Lenny Helsing (drums), Russell Wilkins (guitar)

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)