Geoff Palmer - Pulling Out All The Stops

I believe we've found our album of the summer! If you're like me, you heard all of Geoff Palmer's digital singles last year and thought, "Damn, these songs are WAY too good to not be on an actual record!". Well, a couple of pretty swell label guys were thinking the exact same thing. And in relatively short order, Geoff Palmer's solo debut album has been willed into existence. Out today on Stardumb Records in Europe and Rum Bar Records in the U.S.A., Pulling Out All The Stops is the pop-punk album for people who usually only listen to power pop. Or is it the power pop album for people who usually only listen to pop-punk? Either way, it's one of the best albums we'll hear this year. This all started out as a fun project for The Connection singer/guitarist Palmer. He wrote some solo songs and recorded them with pals like Brad Marino, Adam Cargin, Craig Sala, and B-Face. For good measure, he set out to cover songs by everyone from The Invalids to The Vapids to Gino and the Goons. Once these tracks started hitting the old Internet, even Palmer's biggest fans were blown away by how good they were. We all had to wonder why Palmer had taken so long to reveal his magnificent solo artistry to the world!

If Pulling Out All The Stops had just been a vinyl pressing of Palmer's digital singles, nobody would have complained. But Palmer took it a step further. Pulling Out All The Stops of course features smash hits such as "This One's Gonna Be Hot" and "Velcro Shoes". But even if you already heard all of the singles, a lot of the songs on this album will be new to you. 8 of 14 tracks are previously unreleased. We got a little taste of the new songs thanks to recent videos for "Giving In" and "All The Hits". The former is a big, slick power pop number that brings to mind Palmer's pal Kurt Baker. The latter finds Palmer digging deep into his pop-punk roots and goofing on classic bands that load their live sets with the dreaded "new material". The rest of the new songs are of the same caliber and run the gamut from punky power pop ("Cha-Ching") to kick-ass Ramonesy punk ("Everything Is Cool") to British Invasion/'60s pop goodness (the Michael Chaney co-write "Paper Heart") to pop-rock worthy of late '70s/early '80s radio ("Make It"). This might seem like a weird thing to say about the guy who co-fronts the best damn rock n' roll band on Earth. But this album demonstrates to me that Geoff Palmer is an immensely underrated songwriter! As much as I've praised his bands over the years, I don't think I've ever given him enough credit. He just has a knack for writing really great pop songs, and he has a particular flair for lyrics that are both funny as hell and totally on-point. If the likes of "Velcro Shoes" and "I Like Murder Too" have you chuckling because they hit a little too close to home, I can assure you that you're not alone!

In a day and age of pronounced divisions between the pop-punk, garage, and power pop camps, Geoff Palmer has delivered an album that makes all of that seem really stupid. Of course the pop-punk faithful will go totally nuts for these songs. But I bet Little Steven heard "Paper Heart" and cried tears of joy. I really dig the idea of an album where covers of Sinkhole and Gino and the Goons fit in equally well! While Palmer wears his Ramones/Queers/Beach Boys loving heart on his sleeve, he also draws inspiration from just about every great era of rock n' roll. Even if you usually hate pop-punk, this could be the album that turns you to the dark side. Download is just four bucks via Bandcamp. Vinyl and CD are available from the fine establishments linked below!



-L.R.

https://geoffpalmer.bandcamp.com/album/pulling-out-all-the-stops 
https://www.stardumbrecords.com/products/geoff-palmer-pulling-out-all-the-stops-lp 
http://www.themachineshoprocks.com/Geoff_Palmer_Pulling_Out_All_the_Stops_LP_p/gp2.htm 
https://rumbarrecords.bandcamp.com/album/pulling-out-all-the-stops 
https://www.facebook.com/GeoffPalmerMusic/ 
https://www.facebook.com/stardumbrecords/ 

No Collusion - Sticking Sets

I am always a sucker for '77-style punk, and here we have a new band from Northern Ireland pulling off the style brilliantly! No Collusion is a young trio from Derry that just recently released a debut EP called Sticking Sets. I've seen some comparisons of this band to The Chats - which seem spot-on given No Collusion's penchant for amusing storytelling and fondness for regional slang. "Aw Naw", which recounts the unfortunate tale of some stolen controlled substances, is sure to be one of the punk rock smashes of 2019. I'm not quite sure what's going on in "Jim" - but it sure sounds like a good time will be had by all. "Shams" tells the story of how No Collusion started out as a shitty band and quickly became a not-so-shitty band. "Fuck Politics" might be a specific commentary on Brexit, but on a deeper level it's about how governments screw over the people they are entrusted to serve. That's sadly true regardless of which side of the pond you find yourself on.

All in all, this debut from No Collusion is tremendously promising. Fans of first generation Oi! and the rawer side of '77 UK punk should be very interested! 



-L.R.

https://nocollusionband.bandcamp.com/album/sticking-sets 
https://www.facebook.com/NOCOLLUSIONBAND/ 

The Prostitutes - "Cheap Highs"

Can I name another band besides The Prostitutes that I've been touting for the entire span of my years reviewing music? I don't think so! My first review of The Prostitutes dates back to 1996 (it was the band's debut 7" on Pelado Records). The Prostitutes would go on to become perhaps my favorite punk band of the '90s. And although I left them for dead a time or two or three, Kevin McGovern has managed to sustain this veritable institution of American punk rock through numerous changes in personnel and relocations from the East Coast to the Midwest to the West Coast and back to the East Coast. And even with all of those changes, the one thing that remains the same is that The Prostitutes still sound like The Prostitutes! The band's most recent EP Don't Want A Future (2017) is one of the strongest releases in its catalog. Now with new band-mates JR Matthew (guitar) and Barry Jewels (drums), McGovern has The Prostitutes back and sounding as good as ever. A new EP is in the works, as is a split 7" with the mighty Pegs. "Cheap Highs" is a little taste of what's to come - recorded earlier this month in the band's current home base of Baltimore with Don't Want A Future producer Tim Schock. I'd describe this track as "classic Prostitutes" with that modern edge to the guitars that Schock is so skilled at capturing. You hear that voice, and you immediately know what band you're listening to. And with lines like "self destructive pose/the midnight show/an image that always cracks", you're getting the sort of poetry that could only have come from the mind of Kevin McGovern. If you're a longtime fan, you should be so stoked for this song! And if The Prostitutes are still new to you, you would be wise to dive into the Bandcamp page and discover one of the greatest punk bands of the last 25 years. Stay tuned for more!



-L.R.

https://theprostitutes1.bandcamp.com/track/cheap-highs 
https://www.facebook.com/tutespunk 

Amyl and The Sniffers - self titled

I know some of you may be alienated by the hype over Amyl and The Sniffers. But I've never been one to blame a band for its press clippings. And I've certainly never held success against any band. I wish the same thing for every group I write about: the opportunity to sell a lot of records and play shows to large, appreciative crowds. If a band from our world can "make it", more power to 'em! It's not like Amyl and The Sniffers made some sort of calculated stab at mainstream recognition. I mean, come on: worshipping at the altar of the Cosmic Psychos, sharpie rock, and Aussie murder punk would be one of the least likely paths for a band gunning for the big time! Whatever bizarre circumstances led such a band to Dave Matthews' record label, Gucci campaigns, and mega features in NME will by no means dissuade me from enjoying its music. And if esteemed colleagues of mine like Mick Fletcher and Alex Kish are touting a band, that's a wagon I want to be riding!

The way I approach Amyl and The Sniffers' debut album is to put any hype or expectations completely out of mind. Based entirely on its own merits, it's an exciting and tremendously enjoyable blend of punk and hard rock in the storied Aussie tradition. Clearly this is a far less raw-sounding version of Amyl and The Sniffers. Yet a more "produced" sound actually beefs up the band's attack. Producer Ross Orton really seems to understand what this band is all about. He elicits a tougher, more powerful sound that really plays up the Sniffers' love for '70s rock riffs. Just listen to how much harder the album version of "Cup Of Destiny" hits compared to last year's single (which I also loved)! And given the elapsed years between the recording of this album and the previous EP Big Attraction, it's no surprise that the band shows considerable growth on this release. "GFY" is raging, pissed-off punk rock at its finest. It's the perfect song to crank loud in the car as you vent your frustrations after a shit day. In a similar spirit, the pummeling "Gacked On Anger" is a veritable anthem for a generation of young people who are underemployed, broke, and at their wits' end. The aptly-titled "Punisha" is a swift kick in the teeth, NWOBHM style. On the other end of the spectrum, it's hard to imagine the Amyl and The Sniffers of two years ago being able to pull off songs as overtly "pop" as "Angel" and "Got You". And "Shake Ya" is the kind of sing-along hard rockin' anthem that I've been dying to hear on the mainstream airwaves for the past 25 years!

Having been such a big fan of the more straight-forward '77 style punk of Big Attraction, I did question whether I'd be as enthusiastic about the direction the band was taking with this album. But I have to say I like this record a lot. Inspired quite obviously by multiple generations of Aussie bands, the Sniffers combine punk and hard rock in a way that feels totally natural. I suppose Amy Taylor's vocals are something you either love or hate. For me, they will always be the very best thing about this band. Everything else flows out of her charisma, sass, and sheer force of personality. I don't think it would be possible for Amyl and The Sniffers to be anything other than a punk band. They certainly have not gone mainstream. The mainstream has come to them. In the meantime, they'll just keep on tearing the roof off of every pub, club, and basement venue that will have them. This really is one hell of a band. Let's enjoy them.

 
-L.R.

https://amylandthesniffers.bandcamp.com/album/amyl-and-the-sniffers 
https://www.amylandthesniffers.com/ 
https://www.facebook.com/amylandthesniffers/ 

The Sweet Things - In Borrowed Shoes, On Borrowed Time

Holy crap! After waiting four years for New York's Sweet Things to put out a full-length debut, I expected a really great album. But I don't know if I was quite anticipating this! Out today on Wendigo Productions NYC and Spaghetty Town Records, In Borrowed Shoes, On Borrowed Time absolutely blew me away upon first contact and has only gotten better with subsequent listens. Ladies and gentlemen, The Sweet Things have made themselves a goddamn masterpiece!

Spiritually, you could say In Borrowed Shoes is The Sweet Things' Exile On Main St. It runs the stylistic gamut from trashy rock n' roll to blues to country to soulful ballads - striking a perfect balance between Saturday night debauchery and Sunday morning regret. The band really pulled out all of the stops to make this a grand-sounding affair. Session players include Rob Clores (Black Crowes, Jesse Malin) on piano and keyboards, members of the Uptown Horns (James Brown, Rolling Stones) on horns and sax, Brian Hurd (Daddy Long Legs) on harmonica, and Liza Colby & Alejandro Escovedo on backing vocals. Yet the heart of this album is an amazing set of songs and tremendous performances by the members of this band (Dave Tierney on vocals and guitar, Lorne Berhman on guitar, Sam Hariss on bass, and Darren Fried on drums). Tierney, in my book, is one of the finest singers in today's rock n' roll. Much of the ragged, boozy spirit of the band's music emanates from his raspy pipes. And at an even deeper level, his vocals are full of heart and soul and a character that I find rare.

Certainly this album raises a bottle to '70s Stones and Johnny Thunders. But The Sweet Things definitely have their own sound which they've been honing for quite a few years now. I love that "Liquor Lightning" comes on like a drunken mess, takes a somewhat bizarre turn, then explodes into a sing-along party for the ages. And that guitar solo: wow! If you like good, straight-forward Stonesy rock n' roll, "Dead Or Worse" and "Almost Faded" will not fail to satisfy. Elsewhere, the band delivers stunning country rock gospel soul on the title track, an absolutely ripping rocker in the wonderfully over-the-top "Coke'n", sloppy Thunders-inspired brilliance in "Fix To Kick", and a true grand finale in the heartfelt ballad "Feed My Dog". The absolute highlight for me, though, is the band's new version of "Through the Cracks of the City". I didn't think there was anything wrong with the old version - until I heard the new one! These guys really worked out how to take a killer song and make it even better. From the vocals to the lead guitar work to the chorus, this song is the essence of sleazy rock n' roll!

Dave Tierney had a very interesting quote when he was asked about the process of making In Borrowed Shoes. "I like listening to music," he said. "But sometimes when I'm listening to an album, I think, 'Wow this is cool, but it'd be even cooler if it was better.' So we decided we would do that, make an album but make it better." That seems like such an obvious approach, but clearly The Sweet Things worked very closely with producer Matt Chiaravalle (Debbie Harry, Warren Zevon) to get everything about this album 100 percent to their satisfaction. And the results are stunning. I can go back to the previous singles and hear a really good band - one with the potential to be great. In Borrowed Shoes, On Borrowed Time, on the other hand, is the work of a truly exceptional rock n' roll band firing on all cylinders. The legacy of great bands from New York City is a rich one, and The Sweet Things have put themselves in that conversation. My friends in the U.K. can catch them on tour in just over a week!



-L.R.

https://www.facebook.com/TheSweetThingsTonk/ 
https://www.wendigoproductions.com/ 
https://spaghettytownrecords.bigcartel.com/ 
https://www.facebook.com/SpaghettyTown/ 

Internal Credit - II

Who says all sequels suck?! Falmouth's Internal Credit return with their second EP, which turns out to be every bit as crackling and frenetic as its predecessor. Our second dose of Internal Credit arrives just four months after the first - a testament to both the roll this band is on and the more sublime possibilities of our digital age. Again these guys are really pushing the tempos. At a running time of just two minutes & ten seconds, opening cut "Find You're New" is the "epic" of this set. Otherwise, tracks are whizzing by in well under two minutes. I would still describe the sound as garage/post-punk with an emphasis on the punk, but with poppy hooks and a speed approaching hardcore. That's a whole lot of cool stuff going on, but the execution is thrilling in its simplicity. Within seconds of pushing play, I find myself running wildly around the house and pumping my fist in triumph. Internal Credit just sounds like a band that has tremendous fun playing punk rock, and not surprisingly that leads to music that's tremendously fun to listen to. When I first checked in on Internal Credit, they were still preparing for their first gig. Now they've got gigs under their belts, t-shirts for sale, and a second EP to their name. Blink and you might miss a feature film and triple album!



-L.R.

https://internalcredit.bandcamp.com/album/ii
https://www.facebook.com/internallycredited

The Decibels - Scene, Not Herd

It gives me immense pleasure to report that it's 2019 and The Decibels still sound like...The Decibels! This Sacramento foursome was one of the first "new" power pop groups I ever got into back in the '90s. The band's 1997 debut album Create Action! remains my favorite non major label power pop album of the '90s. I dug through my archives to see if I still had a copy of the review I wrote 21 years ago. Sadly, I do not. That's probably for the better since I find everything I wrote in my 20s cringe-worthy. Heck, I even find things I wrote in my early 40s cringe-worthy! Suffice it to say, I owe my love of power pop partially to The Decibels. And after a taking a long break from 2003-2017, this band is back and sounding great!

The Decibels have two recent albums out on Screaming Apple Records with plans for a new 8-song release this year and another album album next year. Scene, Not Herd is the latest LP - the band's first album of original songs since 2003. As expected, it's a power pop fan's delight. These guys haven't changed much from their mod power pop by way of the British Invasion beginnings. The formula remains very much the same: ringing melodies, punchy guitars, and classic '60s inspired pop songwriting. But what I appreciate is that they've made the kind of record you would expect from an older, wiser version of The Decibels. A lot of the lyrics are reflective of the wisdom we gain as we become proper adults and discover what's truly important in life ("And I wish that I could cancel/Due to lack of interest/All the things I thought of aloud" is one of my favorite lines of recent memory). I doubt the 1997 version of this band could have written a song like "Hey Emily" - which is tender and heartbreaking, yet ultimately full of hope. If anything, The Decibels have become even greater students of power pop and its musical origins. Over the course of this album, you'll hear the influence of everyone from the early Who to The Beatles ("Misery") to The Byrds to classic power pop bands like Shoes and The Nerves. "Stupidity" reminds me a little of Material Issue, which you know is positive in my book! If you were concerned that Dean, Joe, Brent, and Brian might have lost some of that old magic after a decade and a half apart, you will be happy to discover that they've picked right up where they left off. The band's melodies remain exquisite, and there's not a single dud among these 12 tracks.

The Decibels recently created a Bandcamp account to share their music with old fans and hopefully plenty of new ones as well. If you're a longtime Decibels fan, you should be thrilled to sink your teeth into Scene, Not Herd and its companion piece Big Hits (plus 12 more!) - a collection of covers that gives you a glimpse at the band's musical inspirations. And if you've lost your old copies of Create Action! and The Big Sounds of The Decibels, you can purchase digital versions of those as well! The Decibels will be heading up to Seattle this coming Friday May 24th to play with my pals The Cheap Cassettes. Be there or be square!



-L.R.

https://thedecibels.bandcamp.com/album/scene-not-herd 
https://www.facebook.com/thedecibelsband