THE 5,6,7,8s
Teenage Mojo Workout (Timebomb; CD)
     The new album from Japanese girl trio 5678s is probably the best and the feistiest they have recorded so far. An absolutely scorching fuzztone treatment of 'Hanky Panky' is one of the standout tracks. Trash merchants they may be, but their longevity has made them mistresses of the art. 'I Got A Man', 'Typhoon Girl' and 'In The Subway' are all great tracks and they do really groovy workouts of covers like 'Green Onions' and 'Harlem Shuffle', jaded they are not! The screeching and wailing that they like to indulge in works really well here. If you only ever buy one 5678s record, make it this one, it's a great party album and it comes in lovely translucent red vinyl as well!
Paul Martin

COSMIC ROUGH RIDERS
Pure Escapism (Poptones; CD)
     It's two years since CRR's Enjoy The Melodic Sunshine appeared on the shelves in it's garish Fillmore West style sleeve. Heavy marketing and word of mouth recommendations have ensured that this charming collection of sun- kissed Caledonian harmony pop has sold remarkably well, undoubtedly keeping the struggling Poptones operation afloat (along with The Hives album) and spawning no less than six singles. The melodic sunshine itself uniformly attracts lazy comparisons to The Byrds and Beach Boys but the ubiquitous Teenage Fanclub and early 70's soft rock acts like The Eagles are more realistic reference points. Then nothing happened for a while. Vocalist and primary songwriter Daniel Wylie has now apparently left the band and it's pretty clear that their future without him doesn't look good. Hence Pure Escapism, a collection of b-sides and single mixes that probably eluded buyers of the album. A number of these cuts dispense with the full band treatment by their very nature, but still come off sounding rushed and unfinished. However, 'Annie' and 'I Got Over You' are up there with the band's best rockers, 'Laura Nyro' is spookily beautiful and the alternate versions of 'Melanie' and 'The Pain Inside'' are as good as their ETMS counterparts. There are also four videos to watch on your PC but sadly the Cosmics are one non-visual band. So lie back and enjoy the melodic sunshine but watch out for the gathering clouds.
Andy Morten

THE EMBROOKS
Jack / Dawn Breaks Through (Circle; 7")
     It would seem in the absence of an album deal, The Embrooks are 'leaking' an album's worth of singles instead. Hot on the heels of their 'Back In My Mind CD single comes this 220grm 7" in a very attractive colour sleeve. Mole's echoey vocal and his and Al's frenetic bass and guitar pound out a strident, driving freakbeat riff with Lois's busy drum style swelling the sea of sound to fever pitch. A very cool A side. The flip is a cover of the Barrier's 'Dawn Breaks Through' which employs the same approach and is also more than competently done. C'mon labels, give 'em a album deal!
Paul Martin

THE EMBROOKS
Back In My Mind (Monkey Boy Productions; CD)
     It seems to be the norm to play '60s inspired music, but make it all post-modern by throwing in punk and rock motifs, these days. The Embrooks however have been forging their brand of '60s freakbeat for the past seven years, without any inclination to throw in some punk and hit the big time. However, just like Billy Childish and his Buff Medways have become stars, it seems that if The Embrooks are ever to gain some critical acclaim, now is the time. This four- track self-released EP is definitely something to impress. 'The Time Was Wrong' is such an accurate recreation of the '67/'68 UK psych sound that experts David Wells and Phil Smee would be fooled. This will also strike a spark in anyone who likes where The Coral and Soundtrack Of Our Lives are coming from. The ideas may be old, but there's nothing laboured in the energy and excitement that this trio extols. (E-Mail: embrooks@ntlworld.com)
Jon 'Mojo' Mills

THE HENTCHMEN
Three Times Infinity (Norton; CD)
     Prior to playing this album, I have to admit, I'd only heard a couple of singles by the Hentchmen and seen them live just the once. And I thought they were okay...merely okay. This release, however, has changed my mind completely. The higher quality production helps a lot. These 12 garage/frat/pop/punk tunes come over crisp and clear like a smack round the head. But the songwriting - three quarters of them written by the band - is also right up there.
     The first track, 'Straight Up', sounds like it could by a contemporary pop-punk/garage-influenced group like The Hives as opposed to the more, ahem, straight-up retro sounds of the earlier Hentchmen material that I'd heard. Not for the purists out there - but I like it. Things then veer back to a more '60s garage sound with 'Makin' Out'. But overall, they manage to balance that sixties sound, particularly through judicious use of organ and harmonica, with more contemporary pop-punk leanings to achieve a sound that's up-to-date and retro at the same time.
     Highlights for me are their totally retrofied version of Devo's 'Shimmy Shake', the surf/hot-rod pop-punk of 'LeSabre Radar', the garage-punker 'Pack Up And Go'... Actually, I could go on and on and name every one of these dozen tracks. It's a consistently good album from start to finish (although, they could've left off the previously released - on D-Wrecked Hit - version of 'Teenage Letter' because it so much sounds like it comes from a different session).
     It's must be said, that judging from this album, I am MORE than looking forward to their UK tour this coming December! (See http://www.hentchmen.com/ for more information.)
Paul Marsh

THE LAUNDERETTES
Shaken & Disturbed (Big Dipper, LP/CD)
     More contemporary Scandinavian garage, this time from Norway. This four girl and one bloke unit occupy similar territory to the Headcoatees or The Brood, classic garage stylings in fuzztone. I for one am always pleased to see more women with electric guitars or slapping the skins of a drum kit and this set is a 30-minute pleaser for neo garage fans. A ten number set, all originals with the sole exception of 'Nobody But Me'. It includes the now sold out Thunderbaby label seven-incher 'I Wanna Jump Your Bones' whilst other standouts include 'Porn Star', 'Transition Man' and 'Turn Around', straightforward, simple and effective, it goes down a treat, more please!
Paul Martin

THE LIME SPIDERS
Nine Miles High 1983-1990 (Raven; CD)
     Were they garage or punk? - more a hybrid, The Sex Pistols on acid as Rolling Stone USA once quipped. The Lime Spiders were perhaps one of Australia's premiere rock'n'roll bands of their generation irrespective of the line-up changes. The 60s covers are done with a fervour that only the truly committed could summon forth: '1-2-5'; 'Save My Soul'; 'My Flash On You'; 'Action Woman' amongst them, though even The Lime Spiders cannot match the Misunderstood's original of 'Children of The Sun'. Of their originals '25th Hour' and the truly feral sounding 'Slave Girl' of course are what they made their rep on, but others like 'Weirdo Libido' and 'Volatile' are every bit as good in their own way. This 26 track, 76 minute CD is comprised of the A & B sides of EPs, 12"ers and singles-from-the-album tracks and even in their more polished and commercially viable stages (e.g 'Jessica'), there is not a duff track on this comp which serves to remind (and enlighten) us how much talent was around at the time in Oz. With the new found enthusiasm for 80s Australian neo garage and indie rock there should be a lot more anthologies like this and comps like Do The Pop in the works - watch this space.
Paul Martin

THE MAYDAYS
The Very last Time / You Don't Have To Wait (Flare; single)
     Top notch, soulful-garage-beat with a purist '60s-feel from stalwarts Pat Johnson, Ron Silva and Alec Palao. 'The Very Last Time' is in a melodic Brit Invasion styling, whilst flip sees Pat getting deep and soulful. This really does sound like the kinda disc a quality mid '60s US garage would have made! A bloody good record!
Jon 'Mojo' Mills

MEISNER, SWAN & RICH
Meisner, Swan & Rich (Revola, CD)
     "Well it works for me… but I guess I'm biased… see what you think…" writes label owner Joe Foster in his liners to the UK release of one time Eagle Randy Meisner, country-music whore Billy Swan and country legend Charlie Rich's young son (!) recent musical collaboration. Does it work for me? In a way yes, as a number of these songs do seemingly recreate the feel of early '70s LA without being a pastiche, but Rich's and Swan's forays into contemporary country-boogie steer things right off track. But these recordings are a sum of parts and the influences of each member. The sound and feel is combination of country, pop and rockabilly. Sure roots are there, but this small collection of songs that reflect the elder statesmen's past and musical paths is a pleasant affair with simple production and sweet harmonies that do the job admirably. And it's better than most survivors current works too!
Jon 'Mojo' Mills

THE ORGONE BOX
Things That Happen Then (Minus Zero; CD)
     Both myself and Andy Morten in our respective reviews for Record Collector and Shindig! raved about Minus Zero's previous OB release, although we did state that the production was a major set-back. On this earlier set of recordings from '92 to '95, cut with the legendary Gus Dudgeon, it's apparent that old Gus was impressed by the clinical technology the '80s had to offer. The guitars are swamped in effects and the overall sound is crisp and synthetic. It's a great shame, as Corcoran can't half pen a decent tune which a straight ahead production would be so much more suited to. 'Wonderful Mind' encapsulates exactly what Corcoran is good at: his overwought Lennon-ish vocals, personal lyrics and chiming guitars are at the epicentre of his compositions that retain the spirit of Lennon. 'Hello Wonderland' and 'Storytime', clearly the later tracks, mix power pop and psych in the same way as Cotton Mather do, whilst such tender ballads as 'Cheerfully Hopeless' have a clarity that many bands miss. 'Barbican' is also superb, but the synthesised strings on this reflective piece sound like Ultravox, although it's clear that the aim was somewhat different.
     If these songs were re-recorded in 2002 with a sympathetic producer, say Brad Jones or Liam Watson, the end result would have been so much better. As it is, if you can get past the production Corcoran has a lot to offer.
Jon 'Mojo' Mills

THE PRISONERS
In From The Cold (Plus Extra Tracks)
THE SOLAR FLARES
Look What I Made Out Of My Head (both Big Beat; CDs)
     At the time (1986) it would have seemed quite reasonable for The Prisoners to have disowned their album In From The Cold. A recording process foisted on them by a label (Countdown) looking to launch them into daytime radio- friendly territory, required they do things conventionally, the layered and separate recording of instruments, overdubs etc. which ran contrary to the group's all-at-once live in the studio approach to recording up to that point. Compounding this, once the album was released, it was not repressed after initial quantities quickly sold out because Stiff (who held the purse strings) were going bust. However, listening to it today, the strength of Graham Day's songwriting and the group's tightness shines through. Sure, it sounds 'other' than the more familiar live in the studio recording style we are more familiar with, but on its own terms, this is a cracking album (it featured in the October 2002 issue of Mojo magazine's Buried Treasure page). A criticism I always heard of this album was that it sounded thin, though it's always sounded pretty punchy to me. This CD reissue also benefits from five extra tracks namely, the three cuts comprising the Countdown 12" and two from the Hangman comp of rare and unreleased material. On of these, 'Pop Star Party', is Day and the group's finger to the label that they felt served them so badly, a veritable rant against the star system which they were being uncomfortably groomed for. The quality of Day's writing and the strength of the group's performance however, means that In From The Cold still stands as a lost classic reclaimed and is only strengthened by the bonus cuts.
     The Solar Flares, Graham Day's group since the later 1990s, offer up their third album, with a move back to Big Beat away from Twist who issued their first two albums. I carry a tape of those first two albums (Psychedelic Tantrum and That Was Then, So Is This) with me always, there are so many great tunes on them. Their latest is perhaps not so immediately humable in some ways (the hooks are not so obvious perhaps), but with repeated play it is every bit as good as its predecessors. 'You Want Blood' (the pre-album release single) is a classic Day pounder whilst 'Tired Of Being Abused' treads the familiar intense and introspective path that much of Day's writing addresses. Listening to the Prisoners in 'retrospect' (and I stress that word) good as they were, they sound (to my ears at least) like a step on a longer path that has lead to the Solar Flares where the full maturity and confidence of the group (Alan Crockford on bass, Wolf Howard on drums are still here) shines through. Whilst the Prisoners were denied the recognition they truly deserved in the 1980s, we should be thankful that as The Solar Flares via the Prime Movers and indeed Planet (briefly Day's mid 90s group) Day & co. have persevered to deliver some of the most important rock 'n' roll of the last decade. Long may they continue to do so.
Paul Martin

THE SAVAGES
Long Live You (Half A Cow; CD)
     A young Swedish band on an Australian label. This 25 minute five song CD EP comes on like classic MC5 in a head- on collision with Iggy Pop in death-wish mode. Young enough to revel in their mentors inspiration and not be self- conscious about it, (underlined by the fifth cut on the EP 'Detroit') these five cuts demand that the volume be cranked up to 11! The lead track acts as the signature of the rest of the EP – 'Who On The Bayou', 'Heatache' and 'Let's Run' have as much attitude and thrash as you might want (or at least expect) from such a source. There's wah- wah-a-plenty as careening guitars and flailing drums strive to do battle with Daniel Haeggstrom's rotary saw vocals, a great primer for a Saturday night out or pre-gig upper!
Paul Martin

UNKNOWN MYSTERY 60s GROUP
Volume II (Octopus Recordings; CD)
     The Dukes of Stratosphere didn't actually pretend to be a '60s band, but they sounded like one; nor did Naz Nomad, for that matter, but the head honcho of Octopus is still trying to con us that these recordings are from the past. The first CD issued on Distortions fooled a few, but this one hasn't. The premise that the first tape was found on a market stall and contained recordings from a late '60s Philadelphian band was believable; it almost fooled me. Other critics saw through it. With the latest set, although featuring some good songs, somewhat like The Steppes or Optic Nerve playing pastiches, the illusion has been shattered. Some songs have a beat band edge, whereas others are in the psych and bluesy rock mould covering the musical map of '65 - '74. Whether this is supposed to be a collection of demos or an album isn't clear, but it doesn't fool me! So come on guys, you're a decent band. Step forward and proclaim your identity. Not Lame would love to sign you.
Jon 'Mojo' Mills

VARIOUS ARTISTS
Pushing Scandinavian Rock To The Man Vo. 3 (Bad Afro)
     The Pushing... series is a useful and tidy way to summarise and delve into the delights of the recent and current wave of Scandinavian high energy rock 'n' roll bands. Essentially a label sampler for Bad Afro, the series serves to collect earlier and now unavailable 45s from the label with newer discoveries. From the former on Vol.3 the excellent Ultra Bimboos 'No Man's No Good' and from the latter Sweatmaster's 'I Am A Demon And I Love Rock 'n'Roll' (their debut album, Sharp Cut is newly issued on Bad Afro) are but two fine offerings. If Detroit has hogged the limelight via The White Stripes and Von Bondies et al with the 'new' return to 'Garage' roots, then the Scandinavian bands should be right up there with them. Other standouts on Vol.3 include On Trial's 'Higher, The Chronics Slippin' And Slidin'' and the Royal Beat Conspiracy's 'Try Me'. The only lyrically questionable moment comes in the shape of Species 'Ram It Up' (oo-er!), otherwise it would seem that Scandinavia is a veritable hive of adrenaline and loud guitars, all three CDs in this series thus far are strongly recommended.
Paul Martin