High On Stress - Still Here

Back with its first full-length album since 2020, long-running Minneapolis alt-rock outfit High On Stress delivers an absolute winner on the 12-song Still Here. This is the band's first album on Rum Bar Records, and it slots perfectly between Tom Baker and Mono In Stereo on the label's roster. What we've got here is good, solid Midwestern heart-on-sleeve rock 'n roll branching from the Replacements/Bash & Pop family tree. The album successfully combines a singer/songwriter's soul with the no-nonsense punch of a heartland bar band. Nick Leet knows how to craft a song with a killer hook that will also move you on a deeper level. I hear these songs and imagine myself sitting in some dimly-lit dive while I drink a pint of cheap beer and ponder my personal wins and losses and the general sadness of the human condition. 

I always have a soft spot for this sort of rootsy, power pop–tinged honest everyman rock, and High On Stress pulls it off as well as any band on the scene these days. The songwriting, musicianship, and production all hit the mark. The fantastic single "Over/Thru" (which Leet co-wrote with Kevin Salem) reappears here, but it's certainly not the only standout. Opening cut "House of Cards" is a knockout mid-tempo rocker that brings to mind the heyday of American alternative rock. "Plans Have Plans" is such a relatable gem of a song that it sounds instantly familiar, as if you've known it all your life. The title track is nothing short of an anthem — a proper album closer if I ever heard one. For a band to be sounding this good after more than two decades in the game is a pretty remarkable thing. It's not every day that you come across music with this much soul. Pop open a cold one and get High on Stress.

-L.R.

https://rumbarrecords.bandcamp.com/album/still-here
https://highonstressmpls.bandcamp.com/album/still-here
https://www.highonstressband.com/
https://www.instagram.com/highonstressmpls
https://www.facebook.com/highonstress/

Sparrowhawk - Sunflowers in the Moonlight

On its second full-length album, Minneapolis-based foursome Sparrowhawk continues on its mission to make super-awesome rock music. I'm not one to judge an album by its cover, but it would be hard to look at Lucas Gluesenkamp's bad-ass cover art for Sunflowers in the Moonlight at not assume that the music would totally kick ass. Luckily, there's no assumption necessary in the era of streaming. But even in digital times, some albums ought to be experienced on vinyl based on how they look and sound. This is one of them! 

Sparrowhawk is by no means the only indie/punk band embracing '70s arena rock, but you won't find anyone else doing it better. Following their excellent 2023 debut, Johnny Eggerman, Zach McCormick, Damien Tank, and Marty Mueller have doubled down on their love for classic rock. I was amused that the promotional email I received in the advance of the album release was sent by "Phil Lynott." If Philo was going to come back from the dead to do some publicity work, it was certainly going to be for a record like this one. This is an arena-sized rock 'n' roll long player with a punk rock heart. On this release, the band has added a touch of Allman Brothers/Molly Hatchet influence and expanded its repertoire to include ballads and rustic folk rock. Your dad or granddad would love this record, and that's not a knock. Sparrowhawk truly throws it back to a time when there was no shame in crafting a rock radio hit. 

Sunflowers in the Moonlight builds on the sound and style of its predecessor. It's everything that was great about the last album and much more. The melodic rockers "Underneath the Moonlight," "Still Talk About It Now," and "Power and the Glory" will please anyone who loved the band's debut. "Blackberry Brandy" is full-on Southern rock and totally freaking excellent. "Lonesome Operator" is a splendid power ballad in the proper sense of the term. "Down the Line" is giving Stones/Faces energy, and I'm sure not complaining. The title track is earnest Americana with all kinds of scrappy charm. And what other band would think to close an album with a Western-themed eleven-minute multipart finale? That's pure genius! 

Of course Sunflowers in the Moonlight rocks hard. Those harmonized lead guitars remain front and center, and these tunes will have you air-drumming like a maniac in short order. But the Midwestern soul in this music should not be sold short. The album's lyrics are heavy on storytelling and character sketches, so this is like listening to a record with the substance of a movie or short story collection. The band reunited with Andy Mathison, whose recording and mixing favors a sound that's massive but never too slick. Imagine what a king you would be if you were walking around with the Sparrowhawk logo emblazoned on the back of your denim jacket. People would see you and immediately want to hear the band that had the vision to pick such an unfuckwithable name. And one guy would be like, "I heard those guys! They did that song 'Take a Bow'!" And you'd be like, "Dude! Wait until you hear this new album!" 

How do you top a big, hooky rock record? You make an even bigger, hookier rock record! The vinyl, limited to 200 copies, was pressed in Minneapolis by Outta Wax and released on the Twin Cities' own Piñata Records. In the process of bringing this album into existence, the band really showed some love to its own community. And that tells you a lot about Sparrowhawk. Grab a copy of this monster while you can!

-L.R.

https://sparrowhawkrock.bandcamp.com/album/sunflowers-in-the-moonlight
https://www.facebook.com/Sparrowhawkrock/
https://open.spotify.com/album/30xakO4wwu6YjAWkvNY6Ep
https://www.instagram.com/sparrowhawk.mn/

Miss Georgia Peach - "The Hockey Song"

In honor of the two-time Walter Cup champions The Minnesota Frost and the gold medal–winning U.S. Women's Olympic Hockey team, Miss Georgia Peach has released her own version of Stompin' Tom Connors' iconic "The Hockey Song"! This single is backed by a cover of Sonny James' "A Little Bit South of Saskatoon," a song featured in the movie Slapshot. So we've got ourselves a fully hockey-themed release here, and it was recorded in Eveleth, Minnesota, home of the U.S. Hockey Hall of Fame! This Travis Ramin production features MGP on lead vocals, Baby Grant Johnson on lead guitar, John Ewing on guitar, Mike Bennett on bass, Ramin on drums, Steve Sokola on piano and accordion, and Germaine Gemberling on background vocals. MGP and her medal-worthy teammates make "The Hockey Song" their own, giving it a full-on country feel with a touch of upper-Midwest chill. Of course the vocals are stellar, and overall this is a wonderfully robust rendition of a classic. MGP took a shot from the point and really sniped it! This makes me wish I could have a six-pack of Surly Hell! If you've worn out your copies of Aloha from Kentucky and Class Out the Ass and are still left wanting more of that '60s/'70s country music magic, "A Little Bit South of Saskatoon" will be everything you want. This is a fun single that arrives at the perfect time, as its release came just one day after the U.S. Women captured Olympic gold — and just two days before the U.S. men play for Olympic gold. A special shout-out must go out to Kendall Coyne Schofield, Lee Stecklein, Kelly Pannek, Grace Zumwinkle, Britta Curl-Salemme, and Taylor Heise — who play for the Frost and the Olympic team! A vinyl release of this single is in the works. In the meantime, the digital release is available from Rum Bar Records just in time for the NHL stretch run. Now that Georgia and Travis have proven themselves masters of the novelty record, perhaps we can convince them to cover "Go Joe Charboneau" one of these years!

-L.R.  

https://rumbarrecords.bandcamp.com/album/the-hockey-song-ep
https://open.spotify.com/artist/3fmYErr1YHg3VpwiVGkcZb
https://travisraminproducer.bandcamp.com/
https://www.facebook.com/RumBarRecords/
https://www.instagram.com/rumbarrecords/

The 66ers - Have More Fun

Now we're cooking with gas! The 66ers are a pop-punk and punk rock all-star team playing '60s-style garage, surf, and bubblegum pop. The band's songwriter Steven Brookfield (The 99ers) is on guitar and vocals. Joe freaking Queer is also on guitar and vocals. Amy Heronemus (TA-80) is on bass and vocals. Ron "Pete Sake" Mullens (Rubber City Rebels) is on keyboards. Andy Wilson (Billy Batts and the Made Men) is on drums. You see a roster of talent like that and can't help but think, "Holy shit!" And the music is everything you would expect it to be. Out on Rum Bar Records, Have More Fun is the band's debut album. This is definitely a case where the title says it all. This is a fun record and a throwback to one of the greatest eras in the history of rock 'n' roll. Rather than sounding like the Ramones, The 66ers sound like all the bands that influenced the Ramones. Think upbeat, organ-driven tunes with lyrics bout girls, summertime, the sun, and surfing. And I love how those call-and-response lead vocals contribute to the party atmosphere. These songs really capture the unbridled joy and wild-eyed innocence of the teenage pop of yesteryear. If you grew up listening to the oldies stations or were already around in the mid-to-late '60s, you're gonna be feeling what The 66ers are dealing. 

-L.R.

https://rumbarrecords.bandcamp.com/album/have-more-fun
https://open.spotify.com/album/6J5rMn8YUBhZ5qqzEpSKeP
https://www.instagram.com/the66ers/
https://www.facebook.com/p/The-66ers-61572184816592/

Cindy Lawson - "The Reckoning"

The great Cindy Lawson is bringing the heat! Back with her first new release since 2023's Don't Come Crying To Me EP, the Minneapolis rock legend makes her Hygh Tension Records debut with the powerful single "The Reckoning." Backed by her usual band (Jerry Lefkowitz on guitar, Dave Randall on bass, and Mark Devaraj on drums), Lawson is in full old school punk rock mode on this storming track. This is a song with a message, and it comes through loud and clear. "This song is for anyone who's been burned, betrayed, and silenced,” says Lawson. "It's that universal satisfaction when someone evil finally gets taken down. And for me, it's not just about them—it's about reclaiming the part of myself they tried to destroy." One gets the sense that this song is very personal for Lawson, and she sings the hell out of it. Her voice has never sounded better, and the passion she puts into this track will just about give you chills. When she screams, "Karma's a bitch, but so am I!", I can imagine a million formerly silenced voices erupting in deafening exultation. At a moment in the world where it feels like evil is winning, this song is an urgent ray of hope. Sooner or later, the reckoning comes.

-L.R.

https://cindylawson.bandcamp.com/track/the-reckoning
https://open.spotify.com/album/68FUkGsOAoZUXQa2PuTmhN
https://cindysongs.com/
https://www.instagram.com/cindy.lawson/
https://www.facebook.com/CindyLawsonSongs/
https://www.tiktok.com/@_cindy_lawson

Beebe Gallini - Begged, Borrowed and Stealed

Beebe Gallini is a band I've been writing about since 2016, so I was kind of amazed when I realized that the newly released Begged, Borrowed and Stealed is its very first studio album. Of course there was a pandemic that had a lot to do with that, but the point is that this is a very exciting release for fans of the American Midwest's #1 frat rock garage band. It's out on the iconic Soundflat Records, and it was recorded at the legendary Kay Bank Studio in Minneapolis with sound engineer Tom Herbers. 

The original concept for this project was for Beebe Gallini to record new versions of some Minnesota garage rock standards in the very same studio where these classic tracks were originally laid down back in the '60s. The band chose to record The Gestures' 1964 single "Run, Run, Run," The Accents' 1964 cover of Lonnie Mack's "Why," The High Spirits' 1966 single "I Believe," and The Kan Dells' 1965 single "Cry Girl." Some of the band's famous garage rocker friends joined in the fun, and if it had stopped there, the world would have been treated to a killer EP. But then Soundflat Records had the good sense to request a full album. The project was expanded to include some of the band's favorite covers and one of its original songs, and now here we are. Begged, Borrowed and Stealed is the frat rock/garage/soul blockbuster we've long been expecting from the one-and-only Beebe Gallini.

Begged, Borrowed and Stealed features a lineup of Miss Georgia Peach on lead vocals and guitar, Amy Larson Pearson on bass, and Travis Ramin (who also produced the album) on drums. On top of that, Keith Patterson (The Funseekers, The Spectors, The Conquerors) plays lead guitar on "Run, Run, Run" and "Why." Melanie Vammen (The Pandoras, The Muffs) plays keyboards on "I Believe." Russell Quan (The Bobbyteens, The Dukes Of Hamburg, The Countbackwurds, The Mummies, etc.) sings lead on "Cry Girl." That's an impressive cast, and the resulting album does not disappoint. I hate to sound like the cranky old man running some punk kids off his lawn, but there is something to be said for recording rock 'n' roll music in a real recording studio — in particular one with a rich history like Kay Bank Studio. Especially since a lot of people are going to be listening to this album on a vinyl record, it's fitting that it sounds like it could have been produced in the 1960s. It sounds warm and clean, but there's no unnecessary polish. This is just the sound of a great band doing great versions of great songs — with styles ranging from upbeat party rockers to garage/soul stompers to aching ballads. Highlights include Dave Dee, Dozy, Beaky, Mick & Tich's 1966 single "Hold Tight!," the Wilson Pickett/Chris Kenner number "Something You Got," The Ohio Express's "Beg, Borrow and Steal," Otis Redding's "That's How Strong My Love Is," Amy Larson Pearson's original "Hey Honey," and "Kvar  I Min Bil," an obscure Swedish song written by Per Gessle of Roxette. Some of these songs have been Beebe Gallini favorites since the very beginning. It goes without saying that Miss Georgia Peach kills it on lead vocals, and the musical performances on this record are nothing short of first rate. Although this is not a live album, it does bring a live band energy. I can easily imagine the impassioned "Why" bringing down the house in a live setting. The upbeat "Hold Tight!" is a sure-fire cure for whatever might ail you. "Beg, Borrow & Steal," which the band rearranged, just feels like a party. If you didn't know "Hey Honey" was an original, you might assume it was a cover of some obscure garage rock nugget. 

Fans of the music Miss Georgia Peach and Travis Ramin make together have been happy campers this year. Three months after the release of MGP's Class Out the Ass, we get this absolute gem of a record from Beebe Gallini. Begged, Borrowed and Stealed is to garage rock what Class Out the Ass is to country. It's celebrates the Twin Cities' rock 'n' roll legacy and also re-asserts the timeless appeal of high energy, soulful garage rock. Even if you live far, far away from Minnesota, you can listen to this album and truly understand what Beebe Gallini is all about. If you feel compelled to dance around the house in your underwear or start air drumming with kitchen utensils, no one will judge you. I also love that the band went all-out with the packaging. The Cliff Mott front cover art is just so awesome, and the back cover looks so authentically like an actual record from the '60s that some people might be fooled! Whatever you have to pay for this LP is 100% worth it!

-L.R.

https://travisraminproducer.bandcamp.com/album/beebe-gallini-begged-borrowed-stealed
https://open.spotify.com/album/4vg22s08edvH3KDRWuuGRM
https://www.soundflat.de/punkrock-en/beebe-gallini-begged-borrowed-und-stealed-lp
https://beebegallini.com/
https://www.facebook.com/WeAreBeebeGallini/
https://www.instagram.com/beebegallini/

Cindy Lawson - Don't Come Crying To Me

Cindy Lawson is without a doubt a legend in the Minneapolis music scene. Yet it would be hard to deny that she's making by far the best music of her life today — nearly four decades into her recording career. Out on Rum Bar Records, Don't Come Crying To Me is Lawson's second solo EP in two years and an absolute gem of a pop record. Again working with producer Steve Price and a super-talented cast of Twin Cities–based musicians (guitarist Jerry Lefkowitz, bassist Dave Randall, drummer Mark Devaraj), Lawson has turned out an all-killer, no-filler collection of songs inspired by '60s pop, garage rock, and a myriad of other influences. Right off the bat, her voice grabs you. She's one of the finest singers in today's independent music scene, but she's also a terrific writer of melodies and a formidable lyricist. Any of these six tracks could have been the "hit," but certainly the title track was no-brainer choice for the EP's lead single. It's an absolutely ripping garage rocker with timely lyrics about the inevitable consequences of dishonesty. Paired with the scorching-hot "Screamin' White Jezus," it kicks off the EP with a bang. "Go Find Another Heart to Break" finds Lawson seamlessly blending her classic '60s pop sensibilities with Matt Pahl's stellar saxophone. "I'll Be Around" pairs powerful vocals and lyrics with an irresistible rhythm & blues inspired beat. "What if She Followed Him to Nashville" is gorgeous country-pop that has me reflecting on the way our lives are defined by our choices (Jon Duncan from Trailer Trash guest stars on piano and takes the song to a whole other level). Bringing the EP to a delightful conclusion, "I Don't Want You Anymore" is a super-fun kiss-off that channels classic girl group pop with a punk rock edge.  

It would not be accurate to call Cindy Lawson a "late bloomer." Instead she's more like a fine wine, inspiring all of us who refuse to accept that our best years are behind us. She and Price have the perfect artist/producer relationship and have now collaborated on two flawless collections of rocking pop songs. Credit Miss Georgia Peach for hearing New Tricks last year and knowing that Malibu Lou would want to put it out. As they say, the rest is history. And now people all over the world have had the good fortune to enjoy Lawson's music. My only criticism of Don't Come Crying To Me is that it leaves me wanting more. But let's be real: that's not actually a criticism! Any time I'm sad the EP is over, I can just listen to it again. And I have a feeling that more new music from Cindy Lawson is forthcoming. If you want to hear a fantastic singer with fantastic songs backed by a fantastic band, you too will feel blessed to have Don't Come Crying To Me leave you wanting more.

-L.R.

https://rumbarrecords.bandcamp.com/album/dont-come-crying-to-me
https://cindylawson.bandcamp.com/
https://open.spotify.com/album/2uusgH2YR4fVEZ0YUq9xTw
https://cindysongs.com/
https://www.facebook.com/CindyLawsonSongs
https://www.instagram.com/cindy.lawson/

Sparrowhawk - self titled

Producer Andy Mathison explains it best: "Have you ever seen one of those vans with a paint job like the ceiling of the Sistine Chapel, but in place of cherubs are wizards? Sparrowhawk is the soundtrack to that lifestyle." Not only did these words have me laughing so hard that I spat out my beer, but they also made me an instant believer. Minneapolis-based Sparrowhawk plays denim-clad 1970s arena guitar rock without a trace of pretension or irony. This is by no means the first band to combine Thin Lizzy worship with elements of punk rock and power pop, but I can't think of another group that has pulled off such an approach in a more satisfying way. Sparrowhawk manages to rock thunderously while still having the soul and sincerity of a Midwestern punk band. On its 11-track debut album, this foursome sounds poised to travel back in time to 1978 and open an epic bill headlined by Lizzy, Cheap Trick, and The Dictators (the band even covers "Stay With Me," the greatest song of all-time).

Sparrowhawk singer/guitarist Johnny Eggerman and drummer Damien Tank were formerly in the most excellent Private Interests. Zach McCormick (Senior Video) is on vocals and bass, and Martin Mueller (Daniel & The Real Feels) creates guitar harmony magic with Eggerman. All these guys can play their asses off, and that's fortunate. This style of music simply wouldn't work without two stellar lead guitar players and a monster rhythm section. The logo and album art by Lucas Gluesenkamp are over the top in the most awesome way possible, and that definitely fits the band's efforts to carry on as if the '70s had never ended (I want to live in that world too!). I feel like listening to this album will cause your facial hair to grow at an accelerated rate that science would never be able to explain. But beyond all the stylistic commitments is a really terrific band with genuinely good songs and chops for days. A la kindred spirits Sheer Mag and White Reaper, Sparrowhawk understands that the true staying power of arena rock comes from well-crafted tunes with massive hooks. This record is loaded with anthemic rockers that sound best with the windows down and your fist hoisted triumphantly in the air. And that aforementioned cover song is totally aces. Mathison skillfully captures the band's power without polishing away its blue collar edge. If this sounds like an album that ought to be experienced on vinyl, you're in luck. The band pressed 200 copies that will likely go fast. This release is also available from all the major streaming sites. Don't let me catch you listening at a low volume!

-L.R.

https://sparrowhawkrock.bandcamp.com/album/sparrowhawk
https://open.spotify.com/album/5n6d6XpSXE0nnoCRpMF5TK
https://music.apple.com/us/album/sparrowhawk/1703734829
https://www.facebook.com/Sparrowhawkrock/

The Right Here - "Reckless Kind"

Every release in I-94 Recordings' "Detroit cover" 7" series has been an absolute home run, and that continues to be the case with the latest installment from Minneapolis foursome The Right Here. The concept of the series goes like this: each artist pairs an original A-side number with a cover of a Detroit band or artist on the B-side. Previous installments have featured Ricky Rat, Brian McCarty, and Pat Todd & the Rankoutsiders. The Right Here has no problem hanging with such exclusive company. A-side "Reckless Kind" is what I'd call a vintage Right Here track: an anthemic heart-on-sleeve rocker in the grand Midwestern tradition. Jim from I-94 has been a fan of this band since Stick To the Plan came out in 2016, and his request to have the band join the Detroit covers series was met with great enthusiasm. This installment, like all the others, works because each side of the record is equally important. "Reckless Kind" is a grade-A rocker that definitely falls into the "recommended if you like The Replacements" category. For its Detroit cover, the band went a little outside the box and chose Sponge's 1995 hit "Molly (16 Candles Down the Drain)". The Right Here's interpretation of "Molly" is quite remarkable -- transforming this vintage slice of '90s alt-rock into a melancholy country rock heartbreaker. If the ultimate goal of a cover is to make a song your own, The Right Here gets a ten out of ten here. If I didn't know any better, I'd think this was one of the band's originals! 

"Reckless Kind" is such an extraordinary single that it makes me want to immediately revisit The Right Here's most recent album Northern Town. The 7" is available now from the I-94 Recordings website in many varieties of colors. Previous installments in the Detroit covers series are still available as well. Additional installments from the Candy Snatchers and David Bierman Overdrive are due out this summer with many more in the works! Hit up the label's web site to order records and catch up on all the latest I-94 news! 

-L.R.

https://therighthere.com/album/reckless-kind-single-digital-only
https://i-94recordings.com/collections/frontpage/products/the-right-here-reckless-kind-7
https://www.facebook.com/I-94-Recordings-113204123938004/
https://www.facebook.com/TheRightHere

https://www.instagram.com/therighthere/

Cindy Lawson - New Tricks

Eight days ago, I wrote about The Complete Clams, a 15-track retrospective on one of the most criminally underrated rock and roll bands to come out of Minneapolis/St. Paul in the later 1980s. This was just the first half of a duology of releases that fully welcomes Cindy Lawson to the Rum Bar Records family. It was followed yesterday by New Tricks -- the long-awaited solo debut from Clams vocalist and Twin Cities legend Lawson. 

New Tricks is the first set of original songs recorded by Lawson since her old band Whoops Kitty released its self-titled CD in 1996. A quarter of a century later, Lawson's voice sounds as amazing as ever -- or perhaps even more amazing than ever. Within the first 30 seconds of my first contact with "How It Feels," her voice had sent chills down my spine. You can go back and listen to The Complete Clams or the Whoops Kitty album and hear a young talent of tremendous promise. After a long period of semi-retirement from the music biz, Lawson is back to completely fulfill that promise. To these songs, Lawson has brought decades of experience in life and music. And her songwriting skills clearly never left her. The well-named New Tricks incorporates many of Lawson's long-held influences (such as '60s pop and girl groups) while still sounding fresh, original, and modern in the year 2022. The album was superbly-produced by Steve Price (of the excellent '90s Twin Cities band Rex Daisy), who knows a thing or two about what a rocking pop record ought to sound like. From the crunching pop-rock of "How It Feels" to the sultry bounce of "I'm Not the Only One" to the garage rock inspired thump of "You've Got Quality" to the girl group majesty of "Dream Baby" to the hard-rocking grit of "I'm Loaded," this album covers a lot of ground without ever having to veer too far from the timeless structure of the three-minute pop song. A couple other tracks will be of great interest to long-time fans. The old Whoops Kitty song "Let's Pretend" gets quite the modern makeover. "Nope" is a loving tribute to its author -- the late, great Lori Wray. Both songs fit perfectly on the album. 

Listening to the fabulous New Tricks, one might be tempted to curse the music gods for depriving Cindy Lawson of the stardom she so deserved. But who says it's too late? Far from a post-script on Lawson's musical career, New Tricks represents its rebirth. It's the work of an artist whose best days still lie ahead of her. She's got wisdom, she's got talent, and she's got that voice. All over the world, people are hearing tracks from New Tricks on underground radio shows and saying, "Wow, who is that?!" Malibu Lou spoke to me earlier this year about how blessed he is to work with some of the best singers out there today. He mentioned a few names in particular (Shanda Cisneros, Miss Georgia Peach, Jen D'Angora) which I absolutely agreed with. I must add Cindy Lawson to this select group, and I am sure Lou will concur! Locals will not want to miss Lawson's performance this coming July 15 at the Amsterdam Bar & Hall in St. Paul: a Rum Bar Records showcase event that will also feature Beebe Gallini and The Dogmatics! Wow and wow!

-L.R.

https://rumbarrecords.bandcamp.com/album/new-tricks-2

https://cindylawson.bandcamp.com/

https://cindysongs.com/

https://www.instagram.com/cindy.lawson/

https://www.facebook.com/RumBarRecords/

The Clams - "Crazy Boys"

Now here's a real blast from the past! Rum Bar Records has reissued The Clams' second single, which was originally self-released back in 1987. This is a major treat for anyone who enjoys garage/pop/girl group rock and roll. The Clams were Cindy Lawson (guitar, lead vocals), Patty Jansen (bass), Karen Cusack (drums), and Roxie Terry (lead guitar). They were mainstays of the Twin Cities club scene in the later '80s -- releasing two singles and an EP along the way. Lawson, a music legend in Minnesota, has recently joined the Rum Bar family. In May, the label will be reissuing her solo EP New Tricks and releasing a full Clams discography titled The Complete Clams. But up first, we have this dandy 7" featuring the tracks "Crazy Boys" and "Train Song". Both songs are high energy blasts of raw and catchy rock and roll. To say that The Clams fit right in with the Rum Bar roster would be a severe understatement. It's not hard to hear the shared musical DNA with the likes of French Girls, Pale Lips, The Sorels, Beebe Gallini, Hayley and the Crushers, Natalie Sweet, and many more amazing Rum Bar artists. The label is even offering a special deal that bundles this Clams 7" with singles by Beebe Gallini, French Girls, and The Short Fuses for just $22 (Hurry: supplies are running out!). You may notice that the digital single flips the order of the original 7" -- promoting "Crazy Boys" to A-side status. Honestly, it makes little difference. Both tracks are hit-worthy. The Clams are one of those bands that fall into the "shoulda been huge" category, and I'm stoked that their material is about to be introduced to new generations of fans along with anyone who may have missed out the first time around. Can you imagine what it would have been like to have been a fly on the wall at clubs like 7th Street Entry or The Uptown Bar back in the '80s? "Crazy Boys" will give you a little taste of that!

-L.R.

https://rumbarrecords.bandcamp.com/album/crazy-boys-b-w-train-song
https://cindylawson.bandcamp.com/
https://www.facebook.com/RumBarRecords

Beebe Gallini - "You Ain't Getting Nothin"

In addition to being one of the best garage rock bands going, Beebe Gallini is well-known for its ability to cover the hell out of a song. So of course you could expect this band to turn out a first-rate Christmas single! Teaming up with local legend Cindy Lawson, St. Paul's finest rock and roll outfit has gifted us with a double shot of holiday goodness on Rum Bar Records. Listening to the garage ripper "You Ain't Getting Nothin", you would never in a million years guess that this was a Goo Goo Dolls song. Miss Georgia Peach takes full ownership of the song with her usual powerhouse vocal, and simply put this tune freaking rocks! You would swear it was written decades ago! On the virtual flipside, the band is right in its element with a truly excellent rendition of the Stevie Wonder classic "What Christmas Means To Me" (featuring MGP and Lawson on co-lead vocals). The girl group and Motown vibes are strong and undeniable. Given my reluctance to overshare Christmas music this time of the year, I've adopted a standard where I'll only review holiday releases that are simply too good to ignore. This one sure falls into that category. Who am I kidding? Beebe Gallini could cover the Dallas Cowboys fight song, and I'd still be writing a rave review. This band never disappoints!

-L.R.

https://rumbarrecords.bandcamp.com/album/you-aint-getting-nothin-b-w-what-christmas-means-to-me
https://beebegallini.bandcamp.com/
https://www.facebook.com/WeAreBeebeGallini/
http://beebegallini.com/
https://www.facebook.com/RumBarRecords

The Erratix - "You Don't Care"

If you're a longtime follower of this blog, you're gonna flip over the debut single from The Erratix! Pals of mine like Mick Fletcher and Jay Castro have been touting this Minneapolis-based foursome for a while. Once I heard the record, I quickly understood why! This single sounds like it could have come out on Dirtnap Records in 2003! The Erratix play that early 2000s by way of late '70s/early '80s brand of powerpop/punk that was such a huge impetus in my starting F & L a decade ago. Out on the Swedish label Beluga Records, the band's debut 7" "You Don't Care" is steeped in Exploding Hearts worship both musically and visually. And there's nothing wrong with that at all! Both tracks are snappy and hook-laden but also tinged with heartache. You know I'm a sucker for this sound, and these guys sure do it well. The keyboards are a really nice touch! If you dig o.g. British punk pop (Buzzcocks/The Boys) and new wave era Elvis Costello, this is a band that ought to be on your radar. A very promising debut!

-L.R.

https://belugarecords.bandcamp.com/album/the-erratix-you-dont-care
https://www.facebook.com/theerratixmpls
https://theerratixmpls.bandcamp.com/

Beebe Gallini - "Dusty"

It was just a month ago that I wrote about the release of Beebe Gallini's terrific digital EP East Side Story. In addition to making this EP available to the listening public, Beebe Gallini has also been working on a new album called Pandemos. This album started as a way for the band to share demos of original tracks with its new guitar player. As more and more demos were recorded and the pandemic shut down live shows and full band rehearsals, the band decided that they had themselves an album! Pandemos will be out on this spring. In the way of a preview, the band has released the single "Dusty". The "pandemic" version of Beebe Gallini functions as a trio with Miss Georgia Peach on vocals and guitar, Amy Larson Pearson on bass, and Travis Ramin moving from guitar to drums (they'll be back to a foursome when life returns to normal). Given that almost all of the band's recorded tracks to date have been covers, it's going to be very exciting to hear a bunch of Beebe Gallini originals! If "Dusty" is any indication, Pandemos is gonna be one of 2021's must-hear albums! On this track, the band tears into some great high energy rock and roll with a pop sensibility. "Dusty", an ode to a girl who just can't stay home, hits you with a killer hook literally within two seconds! And my god, Miss Georgia Peach can flat-out sing! But you knew that already, didn't you? If the latest Short Fuses album is a little "too rock" for your tastes, you may find Beebe Gallini far more to your liking. Look for Pandemos in March on Rum Bar Records!

P.S. - that cover art is the best thing ever! 

-L.R.

https://rumbarrecords.bandcamp.com/track/dusty-free-digital-download-single
https://www.facebook.com/RumBarRecords
http://beebegallini.com/
https://www.facebook.com/WeAreBeebeGallini

Nato Coles and the Blue Diamond Band - Flyover

Flyover, the second studio album from Nato Coles and the Blue Diamond Band, has been a great many years in the making. The period between this album and its predecessor Promises To Deliver now approaches six and a half years. For context, consider that the year Promises To Deliver came out, the Houston Astros were a 51-win team! But if this is what we get after all of this time, then every last bit of the wait was worth it. Out tomorrow on Don Giovanni Records, Flyover is exactly the album you would expect from one of THE great American rock and roll bands of present times. It does not redefine what Nato Coles and the Blue Diamond Band are all about. The Minneapolis outfit continues to be the quintessential garage/punk influenced bar band - playing traditional rock and roll with grit, soul, and an impressive flair for storytelling. And from the first spin, this album absolutely knocked me out. Coming in at ten tracks, Flyover is honest, straight-forward rock and roll done so well that you wouldn't want it to be anything else.

While I have heaped plenty of accolades upon Nato Coles as a singer, songwriter, and general man of the people, I have not said nearly enough about the Blue Diamond Band. The group's formidable chops are the result of years of continuous touring and an undying commitment to rocking the roof off of every dive bar, pub, club, social hall, amphitheater, shopping complex, picnic pavilion, water park, coffee shop, bowling alley, gambling den, and basement venue that will have them. The band as constituted on this 2017 recording is Sam Beer on lead guitar, Mike Cranberry on drums, Luke Lecheler on keyboards, and Bill Rohla on bass. Beer is an absolute force on this release. I don't know whether to describe him as Nato's own Mike Campbell or as a combination of Scott Gorham and Brian Robertson. Either way, he's one of my favorite guitarists working today (It figures that I'd be huge fan of a guy named "Beer"). From the opening strains of "Under The Flyover", the Blue Diamond Band sounds plain hot on this release. Cranberry and Rohla mightily drive the rhythm while Lecheler works the keyboards with exemplary old school R & B flair. And while his band fires on all cylinders, Nato delivers a stunning set of rockers, ballads, and anthems.

Given the years elapsed between albums, Flyover might be considered Nato's own Darkness on the Edge of Town (although it's probably closer to The River!). He had to be dying to get some of these songs on record. Like any Nato Coles and the Blue Diamond Band record, Flyover transports you to a world where the bright lights and hot sounds of transcendent rock and roll spring weary souls to life. Propelled by a big hook chorus and Beer's guitar heroics, "Under The Flyover" is absolutely the huge opening statement this album required. This is the sort of magic we expect from the Blue Diamond Band, and Nato's lyrics vividly complete the picture:

It's a hub of glorious hell in a west Wisconsin town/

I won’t stop coming around/

The last time we came through we raged until the dawn/

Count the bottles and bodies on the lawn… allright!

"Under the Flyover" is one of several standout rockers on this album. While slightly slower in tempo, "L.P.'s Yard" is even more powerful and emotion-packed (in Nato's own words, the song possesses a nostalgia "usually reserved for songs about great victories against the odds in battle"). "Standing On the Corner Alone" (previously heard on 2016's Live At Grumpy's) and "Michelle of the City" are vintage BDB sing-along anthems. "The Roadrunner" is a high energy barroom rocker replete with a moral ("Don't you waste no time/You know tomorrow's thine"). "Demolition Man" is completely over the top swagger-rock with lyrics to match ("I'm your real live, bonafide, nationwide, rippin' tide, living eyed, triple-wide, chicken-fried, double A-side"). If it's rock you crave, it's rock you shall receive! But Nato and the Blue Diamond Boys have reached the point where their ballads and quietly reflective numbers just might outshine their rockers. "Phoenix, Arizona (1989)" offers the indelible lyric "If this is what I wanted, why do I feel so haunted?" and leaves the Blue Diamond Band with at least one song in its back pocket should it ever find itself performing at Bob's Country Bunker. "Milo and the Bars" finds Nato excelling as a storyteller and expert chronicler of the human condition. In my book, it's the finest songwriting of his life. The roots/folk/Americana ballad "Disposable Camera" finally delivers Nato his "Here Comes A Regular" moment. While "epic" may be a term overused by music reviewers, I cannot think of a more appropriate way to describe closing number "The Avenue of the Saints". 

Flyover demonstrates why I'm such a fan of Nato Coles and the Blue Diamond Band. It's an album full of memorable characters, compelling stories, and eternal truths - all presented in the context of great American rock and roll. This is an album that could be enjoyed equally by a Fest attendee and your (admittedly hip) grandfather. It's full of songs that remind us to savor the remarkable moments in our lives and take the time to get to know the people we encounter in this world. I know I was a little surprised that "Dangerous" and "Midnight In Memphis" from the split with State Drugs were essentially leftovers from this album's recording sessions. But now having heard Flyover, I get it. These ten songs belong together, and I wouldn't change a thing. Compact disc release coming next month on Rum Bar Records!



-L.R.

https://natocoles.bandcamp.com/album/flyover 
https://rumbarrecords.bandcamp.com/album/flyover 
http://natocolesandthebluediamondband.blogspot.com/ 
https://www.facebook.com/natocolesmusic 
https://dongiovannirecords.bandcamp.com/music 

The Short Fuses - Dawn of the Deaf

Well that didn't take very long! Remember when I told you that The Short Fuses' "comeback" single "The Pink" was a teaser for a brand-new full-length album? I bet you didn't think the tease would only last two weeks! The Short Fuses just couldn't be cruel enough to make you wait several months for Dawn of the Deaf. Out digitally today on Ramo Records, this is the Minneapolis trio's long-awaited fourth album - and first since 2003's Dutchess Hustle.

I will admit that I'm always suspicious when any reviewer proclaims a longstanding band's latest album its "best yet". It's usually a load of crap. And given my involvement in writing some of the press info for Dawn of the Deaf, you would be doubly advised to approach this review skeptically (I would probably suggest that for all of my reviews!). But as a fan, I 100% believe this is The Short Fuses' best album. And it's not even close. The irony is that I'm a notoriously "pop" guy, and this is by far the least pop thing the band has ever done. There were always hints of pop lodged in there with the rock and soul on previous records. Dawn of the Deaf, on the other hand, is a fully focused hard-rocking record made by three individuals who sound like they're on a mission to pummel anything in their path. To recap the origins of this record, The Short Fuses had not recorded or played together since 2003. In the intervening years, Miss Georgia Peach and Travis Ramin had played in 1,000 bands combined (I exaggerate; it was only 999). Justin Staggs was, among other things, painting, making movies, and directing music videos. At some point not too long ago, Justin was writing some new songs that seemed perfect for The Short Fuses. He realized he missed playing with his good friends Georgia and Travis. The feeling was mutual. And just like that, a band was reborn. Travis, who'd been working on a large number of power pop projects, was really itching to rip some guitar. And riding a surge of 2016 election rage, The Short Fuses were energized to make their most powerful sonic statement yet. The band called in the big guns. Daniel Rey (Ramones, Nashville Pussy, Misfits) was enlisted to produce Dawn of the Deaf. Adrian Popovich from Tricky Woo was brought in to mix the record. The legendary Geza X was tapped for mastering duties. All stops were pulled out to ensure that this album would melt faces. Did it work? Well, I would definitely recommend donning protective headgear before clicking play.

I am a fan of the entire Short Fuses' catalog. But to me, Dawn of the Deaf sounds like the album this band has been trying to make for 20 years. Sometimes there's no substitute for that veteran know-how. And the band's excitement over making this record is palpable. It doesn't hurt that Georgia sounds amazing. Her voice is just so full of power and soul and a conviction that is undeniable. In that respect, she's perfectly in sync with the entire band. The Short Fuses have unleashed a resistance rock record for 2019, and they could not sound any more fired-up and raring to fight! You can hear the group channeling its inner Motörhead and MC5 more than ever. There's also a discernible Misfits/Danzig flavor to a lot of these songs which reflects the band members' East Coast upbringing. If you prefer your heavy rock with a sniff of the supernatural, the title track and "Galloping Ghost" ought to hit you just where you like it. Meanwhile, songs like "Baby Got Bat Wings" and "Rockford Getaway" demonstrate how to properly do scorching rock and roll with a soul influence. If you're not already pissed about the present state of things, "Furiosa" just might push you over the edge. A song titled "Rock Yo Self (Until You Wreck Yo Self)" promises something very epic...and proceeds to deliver exactly that!

I think most of us would have been perfectly happy with ANY new music from The Short Fuses. I would gladly have taken instrumental covers of Gaga hits or a concept album about the life and times of Ralph Malph. But lord almighty, has this trio ever crushed this reunion! Dawn of the Deaf is the ultimate "crank-it-up-loud and rock-the-fuck-out!" raging guitar record. The riffs are roaring, the solos are fire, and Miss Georgia reminds us that she is one of the true powerhouse singers in rock. And from a songwriting perspective, the band has never delivered a more compelling batch of tunes. If you've been waiting a while to have your ass kicked by a rock and roll record, HERE YOU GO!



-L.R.

https://theshortfuses.bandcamp.com/album/dawn-of-the-deaf
https://www.shortfuses.com/ 
https://www.facebook.com/TheShortFuses/ 

Narco States - Temples Into Tombs

If I close my eyes while listening to the new Narco States album, I can just about convince myself that the band is ripping it up on stage right in front of me. That level of energy and immediacy are somewhat the product of home-recorded fidelity but more likely a testament to a band with seriously hot chops. Out on Piñata Records, the Minneapolis outfit's excellent sophomore LP Temples Into Tombs forges a three-headed monster out of '60s garage, psychedelic rock, and proto-punk influences.

Temples Into Tombs comes out guns a blazing on its opening tracks - sounding like what I imagine would have happened if Iggy Pop had fronted an American garage/psych band circa 1966. Propelled by Aaron Robertson's standout electric organ and Robb Lauer's powerhouse drumming, "Met Tet", "Fascist Fashionistas", and "Generation F" will get your heart pounding and your booty shaking. Meanwhile Michael MacBlane-Meyer on vocals channels Iggy at his most wild and primal - adding an attitude and edge that are generally missing from standard garage rock revivalism. This band really smashes it up! But just when you think you've got Narco States figured out, things start to get very interesting. The title track takes a slower, more mysterious turn - as much Doors as it is Stooges. The nearly seven-minute long "Ahemait" delves into acid rock/heavy psychedelia a la Iron Butterfly or Blue Cheer - allowing for deep sonic explorations but never ceasing to rock. That leads seamlessly into "Jealousy"- by far the most "accessible" track on the album and a fine example of straight-up psychedelic rock. Album closer "Fang Decay" carries on in a similar manner for nearly two minutes before departing on a long strange trip of its own.

What I really appreciate about Temples Into Tombs is that it doesn't lose steam after those first three or four relentlessly rocking tracks. If that was all that Narco States had to offer, the album would be worth hearing but perhaps not nearly as memorable. I love that the band matches its pure energy with great creativity in songwriting and musicianship. "Ahemait" and "Fang Decay" are not just excuses for the band to jam out for five minutes plus. They're interesting, formidable songs that show a whole other side to Narco States. "Jealousy", buried all the way down at track 7, would have to be considered the "hit". If, in the digital age, you wonder why bands even bother making albums anymore, it's worth noting how well these nine tracks fit together. This is one you'll wanna have on vinyl!



-L.R.

https://pinatarecords.bandcamp.com/album/temples-into-tombs 
https://narcostates.bandcamp.com/ 
https://www.facebook.com/narcostates2012 
https://www.facebook.com/pinatarecords/ 

The Cult of Percolation- Elegant Interactions Laboratory

"When you listen to this, I love you. All these songs are about surviving. Maybe that's what makes them feminist; they're about being told you aren't worth anything, and then surviving. Or flourishing even. Or just killing everything that's ever hurt you. And rising from the blood-soaked earth. You're listening to an epic battle between me and all my demons, in whatever intergalactic forms they come in."
-Mary Allen 

Sometimes artists can articulate the meaning of their craft so beautifully that I prefer to let them speak for themselves. The above quote from Mary Allen is all you really need to know about her band The Cult of Percolation. How can you read those words and not want to hear the music? I can tell you that I've never heard a band in my life that sounds quite like The Cult of Percolation - a Minneapolis outfit so "out there" that you just might believe this really is a soul band from another galaxy. Out on Piñata Records, TCOP's new album Elegant Interactions Laboratory finds Allen exorcising her demons in lockstep with a band that's dialed in to groove. Somehow this is an album that feels timeless and wildly experimental all at once. Allen is of course at the center of the action, but each player in the band proves to be essential. That rhythm section (comprised of Ian Stemper and Ike Hartis) is absolutely on-point, and there are a number of moments where organist Tanja Anđić or guitarist Eliot Gordon puts a crucial touch on a song. There's such a sense of adventure to this album that it's a little surprising to discover that most of the songs clock in right around the three minute mark. That groove has plenty of room to breathe, yet no song wears out its welcome. All of this works perfectly in support of Allen, who genuinely sounds like she has summoned her vocals from a place so deep down that it could very well be outside of this earth. At a purely visceral level, you could cue up any of these songs and just enjoy dancing to the music. At a deeper level, these are songs you can really immerse yourself in and fully experience. The intergalactic R & B of "Heavy" and stellar garage/soul of "A New Way" make a fine 1-2 punch off the bat, but this is an album that really hits its peak on the back stretch. "Lovin a Van" is the closest this record gets to "conventional" soul music, and it's positively electrifying. "Moon Girls" and "Love Drug" feature extraordinary vocal performances from Allen. Closing track "Indigo Children" incorporates influences that could be considered either psychedelic or interplanetary depending on your viewpoint. It puts a powerful exclamation on a powerful album.

No doubt Elegant Interactions Laboratory is a little different from the music I typically write about. And I must admit that I didn't quite know what to make of it the first time I heard it. Yet I'd be hard-pressed to think of another group that's more representative of the true essence of rock n' roll. And there's just no denying that Allen is a rare and formidable talent. The Cult of Percolation has traveled from light years away to deliver a message of love and hope to our planet. I'd say they've arrived just in time.



-L.R.

https://pinatarecords.bandcamp.com/album/elegant-interactions-laboratory
https://www.facebook.com/MaryAllenAndThePercolators/
https://www.facebook.com/pinatarecords/

Meet The Chinchees!

When Ed from Radiohearts/Audio Ammunition asked me if I'd heard The Chinchees, I immediately knew I had to go check this band out. And let me tell you, Ed did not steer me wrong! Earlier this year, this Minneapolis trio self-released its debut album and quickly sold out the entire pressing. Dirt Cult Records is stepping up to issue a second pressing, which I hope will generate widespread attention for this immensely infectious collection of power pop tunes. This is one of those albums that delivers an instant jolt of energy the moment you put it on, and the fun just keeps going all the way to the end. The band tears through these songs with such unbridled gusto that you almost don't notice how well-crafted the hooks are. This is just awesome punky pop that manages to not sound like a thousand other "pop-punk" bands. Vocally, at least, I'm reminded a great deal of the late '80s/early '90s heyday of college radio. If you dig, say Tenement or Low Culture, you need to be all over The Chinchees! Stay tuned to Dirt Cult's Bandcamp for information on this second vinyl pressing. Digital album available now from both the label and the band directly!



-L.R.

https://dirtcultrecords.bandcamp.com/album/the-chinchees
https://thechinchees.bandcamp.com/album/the-chinchees
https://www.facebook.com/TheChinchees

MAMA/Private Interests split!

In some alternate universe where Faster & Louder is a glossy print magazine available at gas stations and drug stores everywhere, Private Interests would be gracing the cover decked in Cold War era attire - the photo positioned under the headline "Hottest New Bands of the Year!". I've been psyched to hear more music from this Minneapolis foursome since its outstanding debut EP arrived this past fall. And as luck would have it, I did not have to wait very long. Private Interests has teamed up with Chicago's MAMA to give us a split 7" EP uniting two of our greatest Midwestern cities under the banner of power pop worshiping at the twin-guitar altar of Thin Lizzy.

MAMA's two contributions to the split were taken from the band's short-run Eye in the Sky cassette, and they were fine choices to be preserved on the vinyl format. "Lazer Lover" is the "hit" here - a full-on '70s arena rock rager that would not sound out of a place on a playlist sandwiched between Nazareth and The Nuge. You've got two guitars taking it straight over the top and a singer who can really belt it. I can't help imagining myself in a darkened arena in 1978, and suddenly the lights come on and this is the song that ignites a triumphant night of rock. BAM! The terrific "Girls Next Door" slides nicely into the Big Star/Raspberries corner of power pop, but with clear nods to Cheap Trick and Lizzy as well. This is a best-case scenario for a split: I was drawn in by the presence of one particular band and ended up liking the other one just as much. I will definitely be checking out the rest of MAMA's releases!

On its half of the split, Private Interests continues to show why it's one of the most promising up-and-coming bands out there. "Livin' In The City" is a really pleasant surprise: the band's first foray into straight-up classic power pop a la The Nerves and 20/20. The verse rides a wave of melancholy on the strength of Cameron's vocal, and then that chorus punches hard. I love the amazing lead guitar work and the satisfying thump of the drums! The equally good "Finest Hour" bears all of the trademarks of a Johnny Eggerman song: more of a mid-tempo vibe with a plaintive vocal and dual guitar lines intersecting in perfect harmony. Coming from a town where Karl-Anthony Towns and Andrew Wiggins exemplify the complementary forces of power and finesse, this pair of songs could not be any more satisfying. Private Interests is quickly zooming up my list of current favorite bands!

I wanted to post on this EP as early as possible due to the extremely limited nature of this vinyl release. Just 300 copies were pressed, and only 30 of those were made available for Piñata Records to sell to the public. The remaining copies went straight to the bands to sell at shows. So if you're nowhere near these bands and want a vinyl copy, you better move fast! This record is a perfect representation of all of the great rockin' pop that's currently emerging from the American Midwest. Get on it!



-L.R.

https://pinatarecords.bandcamp.com/album/mama-and-private-interests-split-7
https://www.facebook.com/privateinterests/
https://www.facebook.com/MAMAbandchicago/