Misfits

Famous Monsters Reissue

(Music On CD)

Depending upon your disposition, Music On CD gets either credit or blame for restoring this wicked 1999 disc to store shelves. Famous Monsters was the fifth Misfits studio recording -- the second since founder Glenn Danzig had departed -- and adds notable metallic thunderclap to the Horrorpunk avalanches for which the quartet was infamous. (Personnel at this juncture included Michale Graves, brothers Jerry Only and Doyle Wolfgang von Frankenstein, and Dr. Chud.) Tableaus smeared by stark lyricism were invariably unwholesome. That the Misfits were versed in accessible pop-culture, though, was indicated by the record's title. It was, of course, an homage to Forry and the legendary fan monthly over which many of us pored in our Monster Kid years.

The group remains active in 2023, touring with a somewhat different line-up.

Recommended: "Kong At the Gates," "Forbidden Zone," "Dust To Dust," "The Crawling Eye," "Witch Hunt," "Scream," "Die Monster Die," "Living Hell," "Them"

Video: "Scream"

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Bull Moose

Peligro Ciervos

Norteamericana Uno

(Self-issued)

Pacific temperament affords opportunity for tasteful articulation of multi-genre majesty. One finds an example of the whole being greater than its components. For, as ambitious as are the plucked Spanish strings in their wonderful employ, they would surely fall were it not for buttress provided by intuitive rhythm accompanists. Assessment must include remark on the beauteous singing that gilds this enterprise. So noted.

Recommended: "Los Estados del Sur," "Cupones de descuento," "El deshielo," "Atlantic City," "Nos cruzamos en la 562," "Las Vegas," "Derrota," "Gallinas cocaina y camisas de cuadros," "Camareras," "La Vaca," "Nebraska"

Video: "La Vaca"

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Blue Angel

s/t

(Music On CD)

In the early 1980s, Cyndi Lauper sold her soul to the corporate music industry, mongering insipid pop detritus to undiscriminating imbeciles. That she opted to squander her redoubtable talent is now on the historical record. But the singer was capable of significance, as illustrated by Blue Angel's sole studio disc. Its 1980 issuance predated the errant vocalist's enthusiatic bellyflop into pablum.

The effervescent debut was originally released by Polydor. It has since been reissued numerous times, again now by Music On CD. Within the album's 12 tracks beat a familiar Rock'n'Roll heart. Traditionally arrayed chords recalled the music's salad days and lent nostalgic air. 

But the vivacity with which group members dealt them ensured the record's aptness in an era that also witnessed early, exciting efforts by Robert Gordon, the Rockats, and the Stray Cats. 

The record reminded of better times, when wisecracking high-schoolers spun on maltshop stools, couples whirled to jukeboxes' blares, and finned Chevys cruised local loops, their sideburned drivers hunting action.

Particularly striking was the soloing contributed by Arthur "Rockin' A" Neilson. Whether tracks presented were frantic rockers or tranquil ballads, he proved himself indispensable. 

Impelling Blue Angel with rambunctiousnes was erstwhile Tuff Darts drummer John Morelli. That he and the rest of the group offered boundless ebullience was beyond dispute. They were obviously having fun and invited listeners to join the party. Accepting the invitation was our pleasure.

Comes now cold water.

The endeavor came to naught. In failure's aftermath, dejected members took diverse paths. For example, scintillating guitarist Arthur returned to the Blues idiom he'd previously explored. 

Lauper basically turned her back on genuine Rock'n'Roll, though she did reportedly include Blue Angel songs in some otherwise dismal performances. (Today long of tooth, the perfidious chanteuse has been reduced to hawking a skin eruption nostrum in television commercials.)

That unpleasantness aside, persons interested in hearing potential that once rollicked are counseled to seek out this remarketed documentation and celebrate its undersung qualities.

Recommended: "Maybe He'll Know," "I Had a Love," "Fade," "Can't Blame Me," "Late," "Cut Out," "Take a Chance," "Just the Other Day," "Everybody's Got An Angel"

Video: "Late"

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Ramones

No Mind To Lose - Live Cleveland '81

(?)

NYC's leather-jacketed brudders were various things (primarily revered Punk archetypes), but 'jam band' was not one of them. In-concert renditions of characteristically fleeting, brusque anthems were faithful to studio incarnations -- the sole difference being that they were hurled at ardent masses with even greater vim. Between-song patter was scant, lest all-important momentum be slowed. The predictable result was that Ramones shows seemed to end almost before they'd begun. Unlike live performances, of course, recordings can be replayed. Over and again.

Recommended: Every single song. (There are 29 of them.)

Audio: Live in Cleveland's Agora Ballroom 1981

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Stutterin' Devils

Devil Behind the Wheel 6-song EP

(Bad Billy Records)

(This previously posted review has been updated.) Like other European nations, Finland hosts an avid Neorockabilly subculture, one in which tattoo-sleeved and Bettie-banged enthusiasts storm dancefloors at the instigation of constituent bands like the Stutterin' Devils. Exceptional cut "Life Out Of a Suitcase" handily illustrates the group's trademark qualities: Infectious songcraft, performative ruggedness, and ambition to communicate the passion that compels them. The briskness with which they dispatch direct material, and the muscularity flexed throughout the doing, are hallmarks of this band likely to reap wide acclaim in future days.

Recommended: "One Night Out," "Devil Behind the Wheel," "Meet Me Halfway," "I Heard the Gossip," "Life Out Of a Suitcase" 

Video: "Life Out Of a Suitcase"

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Buddy Bass

"O Diabo a Me Controlar" b/w "Seu Pai Não Quer Me Ver"

(Young) [dist. Tratore]

The fabled Catman waxed paragons of the Rebel Sound that fractured popular culture. Impossible to total are the legions Gene influenced, both in the United States and around the globe. One such disciple is Brazil's Buddy Bass. The singer / bassist has paid homage to Mr. Vincent by reimagining the classic "Race With the Devil" as "O Diabo a Me Controlar." It mirrors its muse, offering headlong dash with tear-it-up abandon. (Feel free to scream randomly.) Accompanying stomper "Seu Pai Não Quer Me Ver" finds less hectic pace suits its articulation. But only a fool would contend potency is dependent on velocity.

Recommended: "O Diabo a Me Controlar," "Seu Pai Não Quer Me Ver"

Video: "O Diabo a Me Controlar"

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Jacky Blaire and the Hot Biscuits

The Album

(Self-issued)

It's enough to bring out the dancer in even the most bashful wallflower, this swingingly traditional Jazz. (For a reference dig the Faultline Syncopators, whose acoustic animations helped enliven Phil Alvin's 2000 County Fair.) We are delighted by stylings once hailed but now largely past general recollection. Players assembled can rightfully take pride in their exercise to maintain the flame. Lucky listeners will be entranced by tunes both familiar and esoteric. Brass, banjo, washboard, and a host of fellows make merry, as a wondefully sonorous girl singer adds decorative touch. Surrender to the comfortable charm; you've no choice in the matter. 

Recommended: "Entry Of the Gladiators," "Till Times Get Better," "Let the Mermaids Flirt With Me," "Weary Blues," "I'm Blue and Lonesome," "Michigander Blues," "Am I Blue," "I Wanna Be Your Cowboy Sweetheart," "Sugar Blues," "Take Me Out To the Ballgame"

Video: live (27:32)

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