Tracey Thorn: A Distant Shore, Expanded Edition

In 1982, 19-year-old Tracey Thorn, who was soon to become half of Everything But The Girl, recorded some songs with Pat Bermingham in his garden shed studio where she had previously recorded the Beach Party album with her band Marine Girls.  She sent the songs, which were recorded for 138 pounds, to Mike Alway, the A&R rep who signed her to Cherry Red (the label that had released the Marine Girls album).  She thought they were basically demos, but he said he felt they were perfect and should be released just as they were, resulting in her debut solo release A Distant Shore.  The album, which has been newly mastered at Abbey Road Studios for this reissue (available on CD and vinyl), is a gorgeous piece of work presenting the music at virtually its most basic with nothing but Thorn’s beautiful vocals accompanied by her guitar work (usually acoustic).  Along with seven originals, the album has a brilliant interpretation of Velvet Underground’s “Femme Fatale”, which she turns into more than just a cover with her unique delivery.  This reissue also contains five previously unheard demo recordings that Tracey found in a box of cassettes.  “Lucky Day” is a song that was recorded during the same session but was left off the album, while the remaining four were recorded at a later session and actually ended up being re-recorded for the debut Everything But The Girl album, Eden.  These bonus cuts flow seamlessly with the rest of the album and are a fantastic addition.  It’s also interesting to hear the future Everything But The Girl tracks in their infancy, especially “The Spice Of Your Life”, which is more intense than the mellow, jazzier version that came later.   

(Cherry Red Records)

Interview with Harley Olivia

Harley Olivia has gone from flight attendant to vocalist with both the metal band Anthems In Ashes and circus punk band Mineta, to now releasing her debut solo EP Hiding Little Pieces. I recently interviewed her and we covered all that as well as her theater and opera background, her Youtube covers, her work as a voice teacher and much more.    

I read that you were a flight attendant before you focused on singing.  What motivated you to take that step and make that career change?

I worked as a flight attendant for about 10 years. In the beginning, it was really exciting and I enjoyed traveling a lot! However, I knew it wasn't what I was put on this earth to do. Singing and performing have been my greatest passions and over time I realized that if I stayed in my job, my life would pass me by, and I'd never get to see if music would have worked out for me. I was afraid to quit but eventually staying in a job I didn't want to do began affecting my mental health - I got very depressed, and it became clear to me that I had to leave the airline behind and dive into music.

You graduated from Humber College’s Theatre Performance Program and then continued your voice studies as an apprentice to contemporary opera legend and author Fides Krucker.  Do you think that theatre and opera background has helped in your rock career?

Absolutely! The performance coaching I received at Humber was amazing and it helped an anxious person like me feel confident on stage. I also use my theatre training when practicing my songs and have learned to analyze them like I would a script. I decide who I'm talking to, what the story of the song is and perform it that way on stage, so it feels more authentic to me. I also learned a lot of vocal health tips and techniques so I can take care of my voice for years to come.

Your bio refers to you as a neurodivergent, alt-rock artist.  Are you comfortable to further elaborate on that?

Sure! For years, I thought I had depression, but it turns out I had undiagnosed ADHD and anxiety. I've always been a big dreamer with lofty goals but struggled with all the necessary skills to bring those dreams to fruition, so I was in a constant state of frustration which led to depression. I went through a period of time where I couldn't get out of bed because my mood was so low, everything felt impossible, and I didn't know how to verbalize what was going on in my brain. Getting diagnosed with ADHD as an adult was really validating and over time, I got better at managing it. I have a great support system now and I write songs about my annoying, spicy brain instead of succumbing to it. Of course, I still struggle and have down days but writing about my experiences and finding other neurodivergent people has been really healing.

You’ve previously fronted metal and circus punk bands like Anthems In Ashes and Mineta.  What made you decide to go the solo route?

I really loved being a part of those bands but unfortunately during COVID, they dissolved. During the pandemic, I was listening to a lot of catchy indie rock and pop rock music, and I ended up writing a bunch of songs that were more upbeat and catchy. That's when Siegfried and I started collaborating and my EP was born. 

I think what you are doing on the EP allows you to really showcase the power and versatility of your vocals more than those bands.  Was that a motivating factor behind doing a solo release?

Thank you! I actually sang the first dance song at my sister's wedding and it was the most scared I've ever been for a performance. I couldn't hide behind electric guitars or lean on my screaming if something went wrong. I realized I have always gravitated towards performing metal and heavy rock music and even though I love it, it became a crutch. I wanted to push myself vocally and tighten up my technique and not hide behind screams or growls when I was vocally tired. I wanted to see what my voice was capable of.

You worked with JUNO award-winner Siegfried Meier, who has worked with a multitude of bands including Kittie and Face To Face.  Can you tell me a little about working with him?

Siegfried is awesome! He has such a passion for music and is really fun to work with. He built this amazing recording studio called Beach Road Studios and it has incredible views of Lake Huron. We do all our writing and recording there and it feels magical and inspiring. We really understand the vision for the music we write and that allows us to work fast and effectively.

I notice most of your songs have been co-writes with Meier.  How does that process tend to work?  Have you also written in the bands you’ve been in?

Yes, I’ve always written in the bands I’ve been in, but the writing process was a little different than it is now. In previous bands, the instrumentation was usually written first and then I’d write my vocal melodies and lyrics after, but in my solo project, I write my vocal melodies and lyrics first. Once I have a verse, chorus and beginnings of a bridge, I’ll bring it to Siegfried and he will write the guitar and bass parts and then we’ll really fill out the song's instrumentation from there. It's my favourite way to work because I get to see each song grow from a just little melody in my head.

Your lyrics sound like they may draw a lot on real life experience.  How much is real life versus fiction?

They are all based on real life experiences. I may exaggerate, use metaphors or indulge in my feelings at times to make the song more dynamic but they all develop from real feelings which came out of some true event in my life. 

Compared to the heavier sound of Anthems In Ashes and Mineta, which reminds me a lot of the craziness of Mr Bungle, the songs on the EP tend to have more of an alt rock edge, but there is a much stronger pop side as well.  Is that something you were striving for?

Yes! I’ve always loved both heavy music and pop music, respectively.  I have a lot of experience in heavy bands, but I wanted to showcase another side of myself that I've never shared before. The cool thing about being in a solo project is you get to really be your authentic self and show all the dimensions of your personality and music tastes.  In Anthems, I always felt like I had to be heavy and dark, but in reality, I have this funny, mischievous side to me. I'm really enjoying stepping out of my comfort zone and sharing that side of me now.

The EP opens with “You’re Not Ready”, which has a rock edge, but also that pop side.  Then, to me, as you make your way through the EP, each song seems to get a little heavier, and by the time you get to closer “Haunted”, a lot darker.  Was the song order planned that way, or did that just happen?

That was definitely intentional! I wanted to lure people in with a catchy pop rock hook and get heavier and more emotional as the EP builds. I’m stoked you picked up on that!

I don’t know if it’s just me, but I hear touches of an Eighties influence on several cuts.  “You’re Not Ready” has some keys that remind me of The Cars, the opening of “Cherries” brings to mind Alphaville’s “Forever Young” and “Diggin’” also has some moments with that electronic music vibe.  Would you agree with that?

Yes! We love the synth from "Just What I Needed" by The Cars and Siegfried had the awesome idea to use a similar sounding synth in the bridge for “You’re Not Ready”. Sieg grew up in the 80s and I love Lady Gaga so we both gravitate towards that retro 80s synth vibe. We also felt that including that electronic element elevates our rock sound and keeps things a little interesting!

I love the pop punk sound of “Cherries” and how it perfectly encapsulates getting older and reminiscing.  Can you tell me about the inspiration for that song?

Yeah, so Cherry Colas was a bar in Toronto that I spent a lot of time in during my 20s. It was this sexy, underground burlesque bar with red walls and a tiny stage. I played there a lot in my previous bands and saw a lot of my best friends play there too. It was a hub for the rock and metal music community, and I felt at home there. Shout out to Cherish! During the pandemic, it unfortunately closed and I had moved out of the city. One night after the pandemic, I was back in the city and found myself walking by Cherry Colas. I felt super nostalgic for all the memories I'd had there during my "glory days" but I was also proud because I realized my life had changed so much and I had grown up a lot since then. I wasn't drinking and partying every night anymore. I was now dedicated to my music in a way I hadn't been before, and I felt proud. That complicated feeling of nostalgia, loss and empowerment is what started me humming the melody of "Cherries".

“Diggin’” is such a massively infectious song and has a kind of dirty swagger to it that really sets it apart.  Can you tell me a little about that song?

Yeah! 'Diggin'' is definitely a crowd favorite. I wrote it after breaking up with someone who tried to make me out to be the bad guy. At first, I felt sad, guilty, and horrible about the situation. But over time, this ex showed their true colors, becoming vindictive, cruel, and spreading rumors. The song captures the moment I let go of that shame, realizing it wasn’t mine to carry. It's also a warning to that person to back off because I see what they’re doing, and now, I’m standing up for myself.

Can you tell me about the production on “No More Tears” and “Haunted”?  Unlike the rest of the EP, those two songs are moodier, and in the case of “Haunted”, a lot darker.  I would say they are also the most elaborately produced songs on the EP with strings and a lot of layers.  

Yeah, I’d agree with that. The strings in 'No More Tears' always hit me emotionally because they come in at such a pivotal moment. When Siegfried created that string part, it really moved me; they sound like a string quartet you'd hear at a wedding, which added so much emotional weight to a break-up song. Sieg is a genius when it comes to adding those elements that really tug at your heartstrings.

For 'Haunted,' the concept was that my mind is like a horror movie, and my thoughts and anxieties are the ghosts haunting me. We wanted it to feel more cinematic and intense. The ghostly “ahs” I sang at the end of the song that follow the melody of the bridge really heightened the emotion and tied into that haunting theme perfectly.

  

You do a lot of videos of cover songs on your YouTube channel, but you chose Audioslave’s “Like A Stone” to include on the EP.  What was it about that song that made you include that? (Just a note - Kudos to whoever is playing for guitar for nailing one of my favorite little solos)

I absolutely love the lyrics of that song, and Chris Cornell’s melody is so haunting. I felt it fit perfectly on the EP because it’s emotional and introspective but also has that heavier edge. 'Haunted' is my darkest song, and 'Like a Stone' compliments it really well, adding depth and intensity that enhances the overall darker tone of the EP.

Speaking of your covers videos.  Most of them are songs that people would be familiar with, but then you do a cover of Bif Naked’s “I Love Myself Today”, which is great. I’ve always loved her music since hearing her debut all those years ago, but unfortunately, she never got much recognition here in the States.  Can you tell me about deciding to cover that?

I'm Canadian so I love Bif Naked. I grew up watching her music videos on Much Music. I used to sing "I Love Myself Today" in a band when I was about 16 years old so when I was thinking of songs to cover that was one of my first choices. I also thought it would be a fun video idea to perform a Bif Naked song while naked.

You have a video for almost every song on the EP, and most of them have a bit of humor to them.  How involved are you in the concept and production of the videos?

I'm very hands-on when it comes to my music videos. For 'No More Tears,' 'Cherries,' and 'Haunted,' I created the concepts, produced, directed, set dressed, costumed, edited, and starred in the videos myself. For 'Diggin',' I co-created the concept, brought in all the props/set pieces and designed all the looks I wore. I really love making music videos and even went to film school a few years back, so I enjoy adding another layer of depth to the songs through video. It allows me to use a different aspect of my creativity.

Do you have a consistent band or does it change based on their availability?

I always perform with Siegfried Meier as my guitarist on stage. We wrote the songs together so he really gets them and he is a fantastic, energetic guitar player. We have a rotating cast of drummers based on their availability, but we have chosen the best of the best! We play with Nathan Bulla of Intervals and Auras, Melvin Murray of Texas King, Mercedes Lander of Kittie and Kaelin Chase of Full Throttle. They all bring something a little different to the table, but they're all amazingly talented.

Do you have any plans to do any touring down here in the States?

Yes, I would absolutely love to tour the States. It's definitely part of the plan! Right now, I'm playing as many shows as I can and as I build momentum, it's slowly taking me farther and farther away from home base. I'm hoping to make the leap across the border some time next year.

In addition to being a performer you are also a voice teacher.  Can you tell me about that?

Yes, I am really passionate about the voice! I get a lot of satisfaction from coaching other vocalists and helping them achieve their goals. I especially love helping artists that want to focus more on their technique in preparation for the studio or a long tour. It's awesome because I'll get these random texts or phone calls at odd hours of the night from my students after they've finished their gigs because they're excited they achieved something. That is the best feeling!

I read an older story about you that said the EP was originally coming out in October, 2022.  What happened that it’s now being released almost two years later?  

Well, this is my debut EP and I learned a lot about the process as I went along. There were some scheduling delays and I didn't want to rush the release. I'd rather take the extra time to make it exactly how I'd envisioned it.

Now that the EP is out in the world, what’s next for you?

The digital release of 'Hiding Little Pieces" is out now, so that's super exciting! The vinyl for the EP will be releasing early November so I will be putting that up for purchase on my store when it's ready! I also won the Rising Sun Award at the Gussapolooza Music Festival this past September, so I'll be back on the main stage next year. Come January, I begin recording my next EP and I just found out that The Ontario Arts Council awarded me a grant for that, so I'm really excited to get back in the studio to record! Other than that, just lots and lots more shows and content!

Is there anything else you would like to share with readers?

I just want to thank everyone who has taken the time to listen to my new EP. As a small, independent Canadian artist, it can be challenging to reach the right listeners who truly connect with my music. I love when new listeners reach out because they often have a personal story or reason why my songs resonate with them, and we end up chatting and becoming friends. Social media can be daunting, but it’s moments like those that make it so rewarding. So, if you're an anxious, neurospicy human like me, love cats and love rocking out at shows - come say hi!

(Harley Olivia)

Fanny - The Reprise Years 1970-1973

Born in the Phillippines to an American naval officer and a Filipina socialite, June and Jean Millington moved to Sacramento in 1961.  As a way to help them cope with being surrounded by strangers in their new country, they took up music and started working together as a duo in High School.  They then formed the all-female quartet The Svelts, playing shows along the West Coast and Nevada.  After going through various membership changes, in 1968 the band consisted of the Millingtons, guitarist Addie Clement and drummer Alice de Buhr.  Later that year Alice and Addie left the band and formed another all-female band Wild Honey, who did some touring in the midwest before coming back to California and teaming back up with the Millingtons under that name.  In 1969 they headed to LA, and on what they thought would be their last night there before moving back home, they were seen at the Troubador by producer Richard Perry’s secretary and ended up signing a multi album deal with Reprise Records.  A few months later Addie left the band and June shifted to lead guitar.  They continued recording as a three-piece and changed their name to Fanny, while still looking for a fourth member.  They eventually added Nickey Barclay on keys, and even though their first album was finished, after adding her they went back into the studio and recut six songs, resulting in their debut album.  Over the next four years they would record three more albums for Reprise Records.  These four albums, along with thirty-eight bonus tracks (eight of which have never been on CD) have now been compiled in the new four CD box set The Reprise Years 1970-1973.  

Their self-titled debut was produced by the aforementioned Perry and opens with “Come And Hold Me”, an upbeat, sunshine-y West Coast folk rocker.  They kick things into gear with the gritty, swagger filled bluesy “I Just Realized,” a track that is really enhanced by Barclay’s piano playing, as is the easygoing midtempo rocker “Candlelighter Man”.  As lyrically relevant today as it was then, “Conversation With A Cop”, about a lady walking her dog late at night and running in the cop who is suspicious of her being out, is a really nice, laid-back soulful ballad.  Next up is the first of two covers on the album, a fantastic take on Cream’s “Badge”, that’s a little more upbeat than the original and is highlighted by some great guitar work (check out June’s solo) and keys.  After opening with a slow, rambling piano, “Changing Horses” shifts into a raw, hard driving rocker.  “Bitter Wine” is a more laid-back, somewhat melancholy song that at times hearkens back to that West Coast sound.  Throwing in a hint of country, “Take A Message To The Captain” has a laid-back groove and some nice slide guitar.  The second cover is “It Takes A Lot Of Good Lovin’” (written by Booker T Jones and Al Bell), which in their hands becomes a good midtempo rocker with a strong funk and R&B undercurrent.  “Shade Me” is another funk-tinged rock tune but also adds some Latin influence to the mix.  It has a loose, jam vibe and contains a solo from each member allowing them all to showcase their talent. Closer “Seven Roads” opens with an organ solo that wouldn’t be out of place on a Deep Purple album, then the guitar riffs come in along with the powerful rhythm section for one of the heavier songs on the album.  Overall, the album is quite diverse and makes for a more than promising start.

Perry was once again in the producer chair for their sophomore release Charity Ball.  The album opens with the title track, which hit number forty on the US singles charts, and is a massively infectious song with a touch of boogie.  It's full of rollicking piano, handclaps and "oohs" that make for an incredibly fun listen.  “What Kind Of Lover” is sassy and dirty with a strong funk undercurrent, followed by the raw, high-energy, no-frills rocker “Cat Fever”, which has some great “rock star” guitar and hard pounding piano.  Walking the line between funk and country, and including some great slide guitar, “A Person Like You” is another really fun track.  With their cover of Buffalo Springfield’s “Special Care” they take what was a somewhat mellow tune and turn it into a harder edged rocker that ends with a powerful instrumental jam.  "What's Wrong With Me" is a pretty ballad that's largely acoustic guitar and organ with some great vocal harmonies, while "Soul Child" is a super funky track with a rock edge that's highlighted by some very creative organ playing.  With Barclay’s keys bringing to mind the sound of The Doors’ Ray Manzarek, “You’re The One” is a bouncy, somewhat midtempo, rocker with really strong hooks.  Following “Thinking Of You”, an easygoing, laid-back ballad that is probably the albums weakest cut, “Place In The Country” is quite possible one of their finest moments.  It’s a stellar gritty blues rocker full of intensity and aggression.  Closing the album out is “A Little While Later”, a strong rock ballad that builds and builds to a big climax before ending with a short harpsichord solo. 

Their third album, Fanny Hill, was again produced by Richard Perry, but this time they recorded at Apple Studios and it was engineered by Geoff Emerick who had worked there with The Beatles on Revolver, Sgt. Pepper's Lonely Hearts Club Band and Abbey Road.  It also featured additional instrumentation on some tracks, like strings and brass, although the band apparently weren't all that excited with them.  Their outstanding cover of “Ain’t That Peculiar” gets the album going with a bang.  They completely make it their own, turning it into a raw, bluesy rocker complete with some great slide guitar from June.  “Knock On My Door” has a string section and is a somewhat dark and mysterious rock ballad that’s really unlike anything they’d done before.  Another of their strongest and heaviest tracks is “Blind Alley”, a straight-ahead rocker that let them really just let loose.  It also contains a guitar solo that could pretty much be considered “metal”.  With lyrics detailing a single mother’s conversation with her child, “You’ve Got A Home” is a beautiful ballad, stripped down to just acoustic and slide guitar, bass and vocals.  Following the gentle, easygoing “Wonderful Feeling” and the more straight-forward rock of “Borrowed Time”, which is fleshed out with horns, is their cover of The Beatles’ “Hey Bulldog”.  Their version is a powerful, more muscular take with strings, that also includes extra lyrics.  The laid-back “Think About The Children” has some elements of the West Coast rock that was present in their earlier work, along with some psychedelia (especially with June’s wah wah).  Drummer de Buhr has her first lead vocal on “Rock Bottom Blues”, a soulful, bluesy rocker with horns, while the midtempo country tune “Sound And Fury” brings us to closing track “The First Time”, a big sounding bluesy ballad with gospel choruses, horns and more great piano work from de Buhr.  Peaking at 135 on the Billboard Album chart, it became their highest charting album on Reprise Records.  

For Mother's Pride, their last album on Reprise, they changed producers, going with Todd Rundgren, whose stipulation on producing was that he could mix the album himself with no input from the band.  Because of this some band members felt it was overproduced when they wanted a rawer, live sound. They once again went with a cover to open the album.  This time it was Randy Newman’s “Last Night I Had A Dream”, and the result is a really cool version with the music fitting the lyrics about a nightmare perfectly, especially the haunting guitar work.  The largely acoustic “Long Road Home” is a pretty, somewhat melancholy tune with a West Coast country folk vibe.  The second cover on the album is Uncle Dog’s “Old Hat,” another really laid-back ballad.  The tongue in cheek “Solid Gold” (later covered by Keith Moon) is delivered with a strong sense of humor and off kilter vocals from drummer de Buhr, supposedly recorded while she was drunk.  The unique sounding “Is It Really You?” has a lot of swagger and mixes up country, rock and ragtime into an infectious mix.  Another change of pace for the band was “All Mine”, which is more of an easygoing dance tune and includes male backing vocals and sax (Rundgren's touch is very evident here).  Just as the title says, “Summer Song” is an upbeat, bouncy tune that is perfect for the summer, while “Polecat Blues” is another completely different tune for them.  It’s a bouncy, bluesy cut with a bit of a ragtime feel featuring horns and barroom piano.  "Beside Myself" is an absolutely stunning ballad with a powerful, very emotional vocal performance from Jean, that has should've been a hit written all over it.  The strong vocal harmonies, acoustic and slide guitar really enhance the sunshiney pop of “Regular Guy.”  After opening with heavy, almost droning keys that continue to run under the music through the rest of the song, “I Need You Need Me” is a stunning track, and another highlight, that at times could be called heavy glam.  At just under two minutes, “Feelings” is a softer tune with hints of English folk enhanced with delicate piano and flute.  “I’m Satisfied” closes the album out and is a strong, no-frills rocker with a sound that is somewhat reminiscent of Joan Jett with more outstanding organ work and big thumping percussion.

In addition to the four albums, the box set also contains an incredible thirty-six bonus tracks (eight of which are on CD for the first time) including single versions of album tracks, B-sides, demos and live tracks.  When their debut was released in Canada they used the wrong set of master recordings.  With the exception of two that are not included (“Changes" and an early version of “Charity Ball), six of these songs and mixes are among the bonus tracks.  These include covers of Martha and the Vandellas “Nowhere To Run”, which is really kind of so so, and a soulful version of “One Step At A Time” (originally by Maxine Brown) with really strong vocals and harmonies.  There are a couple of originals, “Lady’s Choice”, a laid-back track with a jazzy funk vibe, and the breezy “New Day”, which has some jazz drumming and even some harmonica.  Lastly, there are alternate takes of “Seven Roads”, missing the organ intro and with the organ also a little more under the mix, and “Place In The Country”, which is slower and a little funkier than the version that would be on the next album.  As for the demos, “Queen Aretha” goes all the way back to the Wild Honey days and has that sunshiney West Coast sound.  It also shows how well they already had their great harmonies down.  There are also three demos from the Mother’s Pride Sessions.  “Lonesome Pine” and “Old Milwaukee” didn’t make the album and are respectively a raw, bluesy tune with a very passionate and soulful vocal, and “Old Milwaukee” (written by Tret Fure), a fun, kind of lazy funky blues song.  Then there is a demo of “All Mine” that shows a different side of the of the track before Rundgren added all his flourishes.  Although not listed as a demo, there is “The Kitchen Tapes” version of “Candlelighter Man” that is a stunning take, stripped down to just acoustic guitar and vocal.  Their cover of Ike Turner’s “Young And Dumb” was released as a non-album single and is somewhat reminiscent of a heavy, bluesy Cream.  It shows all the pieces coming together perfectly with raw, soulful vocals, killer guitars, great bass playing and inventive keys.  Another cover, their take on the Holland-Dozier-Holland song “Back In My Arms Again” (a hit for The Supremes) is rooted in the R&B sound of the original but adds a rock edge.  “Tomorrow” is a pretty acoustic tune with a somewhat classical influenced guitar that sounds like it may have been influenced by The Beatles, and “No Deposit, No Return” is a fun track that shows them pulling out a little honky tonk country.  The live tracks, five from Philadelphia and four from Cleveland, show what a tight band they were and just how incredible they were live with performances that were high energy and raw and also displaying top notch musicianship.  Lastly, there’s the original version of “Rock Bottom Blues”, as well as a recording of the backing track and ten tracks that are single versions of album tracks.   

Not long after the release of Mother's Pride, Alice and June left the group and were replaced by Patti Quatro (big sister of Suzi) on guitars and vocals and Brie Brandt (originally Berry), who had been a member of the pre-Fanny band The Svelts, on drums.  This incarnation recorded one more album, Rock And Roll Survivors, released on Casablance Records, so not included here.  That album contained the single "Butter Boy", which hit number twenty-nine on the Billboard Singles Chart, but the band had already broken up by then.  Jean and June have remained active in the music world and have even released a few albums together as well as a 2018 album under the name Fanny Walked the Earth with former drummer Brie returning along with a who's who of special guests including Alice De Buhr.  Unfortunately, one week before they were supposed to play their first live show to support the album, Jean had a severe stroke that paralyzed the right side of her body.  The band was also profiled in the fantastic 2021 documentary Fanny : The Right To Rock, which is highly recommended.  It's unfathomable to me that a band this good isn't a household name.  The musicianship, vocals and songwriting found on this box set is incredible.  

(Cherry Red Records)

Snafu - You Know It Ain't Easy: The Anthology

The roots of Snafu go back to the early days of Procol Harum, when Bobby Harrison and Ray Royer were kicked out of that band.  They then formed Freedom, who released five albums from 1967 to 1972.  When that band didn’t take off and broke up, Harrison’s management suggested he do a solo album.  He had songs he had written for Freedom, but he wanted to shift directions and add some funk to his sound and recorded a solo album called Funkist.  The album featured the likes of Tommy Iommi, Ian Paice, former Procol Harum bandmate Matthew Fisher, former Freedom bandmate Walt Monaghan and Juicy Lucy guitarist Micky Moody, who also co-wrote the album track “Long Gone”.  After working together on the album, Harrison and Moody decided to form a band resulting in Snafu.  Unfortunately for Morrison, when his management got wind of their plan, they decided to shelve his solo album and focus on the band (that album did get a US only release in 1975).  While he was in Freedom, Harrison was initially just the drummer and then also took over lead vocals, but in Snafu he was able to focus on just the vocals with the drumming handled by Moody’s former Tramline bandmate Terry Popple.  Rounding out the band was Colin Gibson (Skip Bifferty and Ginger Baker’s Airforce) and keyboardist Pete Solley, who had played with the likes of Chris Farlowe, Terry Reid, Arthur Brown and Paladin.  From 1973 to 1976 the band released three albums, all of which are included in the new four CD box Set You Know It Ain’t Easy: The Anthology, along with non-album singles, BBC sessions and a live show recorded in Nottingham.  

Their eponymous debut was produced by Vic Smith (Vic Coppersmith-Heaven), who had worked with Gibson producing Skip Bifferty, and a few years after producing the Snafu album, would become best known for producing the first five albums from The Jam.  The album opens with "Long Gone" a super funky, down and dirty rocker that Harrison originally co-wrote with Moody for his solo album.  Along with some elements of Little Feat and some rootsier parts that are reminiscent of The Band, “Said He The Judge” has a lot in common with Lynyrd Skynyrd’s southern rock and has great guitar work from Moody.  “Monday Morning” and “Funky Friend” are a couple of upbeat, fiddle heavy tunes that sound like a bluesy hoedown.  In addition to the originals, the album contains a cover of the Gamble/Huff song “Drowning In The Sea Of Love”, which had been a US Top Twenty hit for Joe Simon in 1971.  Their take has a really strong Santana vibe, but interestingly you can also hear a bit of a soulful funk groove mixed in that’s reminiscent of Isaac Hayes’ “Theme From Shaft”.  The laid-back rootsy sound of “Country Nest” brings to mind The Band and has some really nice honky tonk piano.  Taking inspiration from Steely Dan, “Goodbye U.S.A.” is completely different than anything else on the album.  It’s a laid-back jazzy tune that is quite infectious, with really interesting synth playing from Solley and some hints of Chicago.  It could be considered similar to early yacht rock.  The album closes on a high note with the powerful, gospel rocker “That’s The Song.”  Disc one also contains four bonus tracks starting with the non-album single “Dixie Queen”, a funky boogie woogie tune.  At almost six and a half minutes, “Sad Sunday”, is an organ-driven hard rocker that is heavier than anything else they had released (there aren’t a lot of details about this track except that it was a bonus track when the album was reissued in 1993).  The final two bonus tracks on disc one are live versions of “Said He The Judge” and “Goodbye U.S.A.” taken from BBC Sessions recorded on January 9, 1974.  

Following the release of their debut, they appeared on the British TV show, The Old Grey Whistle Test, recorded sessions for Radio 1 and performed with bands like The Kinks, ELP, The Doobie Brothers and The Eagles.  There was a lot of positive media coverage, but unfortunately the album didn’t do much in the sales department.  To make matters worse, when it was time to release their second album, Situation Normal, in October 1974, their management/record company WWA were on the brink of collapse.  The album ended up being the label's last release and the promotion was pretty much non-existent.  It opens with “No More”, which at first starts out laid-back and funky with a jazzy undercurrent, highlighted by Moody’s guitar solo, but about halfway through shifts to a sound reminiscent of Santana with Latin percussion and rhythms.  “No Bitter Taste” is the first of two strong ballads on the album with a soulful blues vibe and some nice slide guitar from Moody.  Following the fun and lighthearted bluegrass of “Brown Eyed Beauty And The Blue Assed Fly” is “Lock And Key”, an absolute killer track propelled by Moody’s stellar slide guitar.  It’s a dirty, foot stomping bluesy rocker that in a perfect world would still be blasting out on classic rock stations today.  The super infectious and fun “Big Dog Lusty” is a funky boogie track with an ever-present thumping bass, synths and harmonica.  At over eight and a half minutes, “Playboy Blues” is laid-back with a super slow funk groove and a hit of that Steely Dan jazz influence highlighting Solley’s synth work with an extended solo.  Another album highlight is the second ballad “Jessie Lee”.  It’s a gorgeous, laid-back rootsy track with some really strong synth work and vocal harmonies.  Unfortunately, the album closes with what to me is the weakest track.  With a sax section featuring Mel Collins (King Crimson, Camel), Steve Gregory and Bud Beadle, “Ragtime Roll” has a fifties rock and roll sound that comes across a bit generic.  Disc two also contains five more bonus tracks consisting of a thirty-minute BBC In Concert session from March 25, 1974, with two songs taken from the debut and three more from the sophomore effort.  Both the band and recording sound great on this session.  

Following the release of Situation Normal, Pete Solley left the band, and while he was initially replaced by Brian Chatton, they ended up adding a second keyboardist, Tim Hinkley, on the third album, All Funked Up.  Solley’s departure also contributed to a shift away from the country influence towards a more straightforward funk.  There was also less emphasis on original songs, with four of the ten songs being covers.  Opening the album is a cover of The Allman Brothers’ “Don’t Keep Me Wonderin’”, which is a slightly funked up version with some powerful vocals and prominent bass.  Next up is the slow, laid-back greasy funk of “Bloodhound”.  This one has tons of great solos and really lets everyone in the band shine.  “Lock and Key”, the standout track from the sophomore album, is back here with a new arrangement.  It’s harder with more of a rock edge and has a little more drive.  Their cover of Otis Redding’s “Hard To Handle” gives the song a little more grit but seems a bit of a misstep.  On the other hand, “Every Little Bit Hurts”, which was a hit for Brenda Holloway, is a really nice soulful cover with strong, emotional vocals from Harrison and female backing vocals from Liza Strike and Viola Wills. Driven by some absolutely killer bass playing, "Turn Around" is a super funky tune with a soulful undercurrent. Featuring more really nice sax from Mel Collins, “Deep Water”, is reminiscent of the soulful rock of The Doobie Brothers.  The final cover is Stevie Wonder’s “Keep On Running”.  Their take is a faster paced, more rocking version that hearkens back to the sound of their first two albums, and also has more of Collins’ sax and some really fun synths.  “Bar Room Tan” is a hard driving, bluesy rocker where all the pieces really come together with killer slide guitar, harmonica, keys, great vocals and a driving rhythm section.  It also brings to mind their earlier releases and is another album standout.  The final track on the album is “Dancing Feet”, a nice mid-tempo soul / funk tune.  They recorded another single before calling it a day, which is also included on disc three as one of three more bonus tracks.  That single “Are You Sure” is a nice, laid-back soulful cover of a track that had originally been recorded by The Staple Singles.  The other two are recordings of “Jessie Lee” and “Playboy Blues” that were recorded Sept 25, 1974 for the BBC.

The final disc consists of two sets of live recordings from late 1975 and early 1976 that were initially released on CD in 2017.  First up is a John Peel session, featuring four tracks from All Funked Up, that was recorded on August 28, 1975.  The remaining six track are a live set recorded in Nottingham at Trent Polytechnic on January 23, 1976.  The recording is a little rough, but is very listenable, and as has been proven on the earlier bonus tracks, shows they were a band to be reckoned with when playing live.  It is also notable for the only recorded versions of three songs.  The first one is their impressive cover of Jimmy Reed’s funky blues tune “Big Legged Woman”.  The originals "Unsettled Dust" and the raw "Highway", with some great guitar work from Moody, both give off a strong Allman Brothers vibe (Harrison's band Nobody's Business ended up releasing both these tracks).  Shortly after the album's release, Moody left the band to work with David Coverdale on his solo album and what would later become Whitesnake. Harrison approached Clem Clempson (Colosseum / Humble Pie) about joining the band, but when that didn't happen, the band called it a day.  This is a fantastic box set from a band that deserved to be much bigger than they were.  it is rounded out with a well-detailed CD booklet covering the history of the band, along with tons of pics of the band and memorabilia.

(Grapefruit)

Gene Champagne - Let's Jet

While he’s known as the drummer of The Killjoys and Teenage Head, as well as guitarist and vocalist for The Un-Teens, Gene Champagne can now add solo artist to his resume.  He recently released Let’s Jet, his debut solo EP, and in addition to arranging, recording and mixing it all himself in his home studio, he also he also wrote and played everything.  The album kicks off with the title track, an extremely catchy cut that walks the line between garage rock and power pop.  The hooks continue with the Ramones-ish poppy punk of “Back In My Arms”, and to a lesser degree “Rock’n’roll Boy” (originally released by his band The Un-Teens) which also has a bit of a Tom Petty roots rock sound.  Closing the EP is “Shake Some More”, a track that takes Fifties Rock ‘n’ Roll and gives it an angsty modern day edge.  With only four cuts, the EP is a quick twelve minutes, but thankfully one that will have you listening on repeat.   

(Gene Champagne - Facebook)

Howard Jones - Live At The O2

On March 24, 2024, forty years after he opened for OMD in Cardiff and Liverpool, Howard Jones played the O2 Arena in London as their special guest.  Live At The O2 documents his performance that night, with vocals that are as strong as ever and the band consisting of Nick Beggs (bass), Robin Boult (guitar), Dan Clarke (keyboards) and Robbie Bronnimann (keyboards and tech) sounding great (sadly, this would be the last performance featuring the 31-year-old Clarke, who passed away from cardiac arrest on July 28).  Jones has had numerous hits during his career (these include nine UK top 20 singles and five US top 20 singles), and they are well represented here.  Some, like “New Song” and “What Is Love”, stick pretty close to their original sound with the ever-present infectious bounce, as does “Pearl In Shell”, which is a little fuller and meatier here, and “Like To Get To Know You Well”, with its soulful groove and a great guitar solo.  Jones mentions bringing back the electronic element on “Hide & Seek” after playing it on piano for years, and to me it’s a highlight of the set.  It opens with a really nice piano intro and is a dark and haunting tune that’s a nice change of pace.  In addition to the hits, Jones also touches on his more recent albums with “The One To Love You”, from 2019’s Transform, which hearkens back to his earlier synth-based work, but with a modern-day edge, and "The Human Touch" from 2015's Engage that finds him embracing EDM.  The EDM vibe also carries over on one of his early hits, “You Know I Love You … Don’t You?”, giving the 1986 tune a completely new sound.  Also included is a solid cover of Kajagoogoo’s “Too Shy”, featuring some really great bass work from Beggs, who was an original member of that band.  The set closes with a strong version of “Things Can Only Get Better” and a high, energy raved up version of the song labeled Remix.  Live At The O2 shows without a doubt that Jones still has it.  

(Cherry Red Records)

The Vanrays - Hey! Alright Now

Following last year's full-length release Put It Out, Vancouver's The Vanrays are back with their new EP Hey! Alright Now.   It is an insanely infectious collection of tunes that mesh soulful R&B with gritty garage rock, a sound that is in full effect in both the horn-driven title track that opens the EP and “Another Man”.  “Survivors” has a slower, slinky R&B groove full of garage rock organ and fuzzed out guitar, while “Queen of Breaking Hearts” adds a touch of doo wop and some Shangri-Las styled spoken word vocals.  The bouncy R&B of "Lightning" has a bit of a dark and dirty soul groove and brings us to the closing cut and highlight of the EP, “Ghosts”, a gorgeous, slow burning soul tune with a powerhouse vocal performance from Spencer McKinnon.  Fans of old school soul and R&B and garage rock alike will find plenty here to entertain them and get them on the dance floor.    

(The Vanrays)