Classix Nouveaux - Battle Cry

Classix Nouveaux initially formed in 1979 when two former members of the legendary X-Ray Spex teamed up with two former members of the band The News.  They released three albums (four if you count the alternate US version of their debut) before calling it a day in 1985 (the 2021 release The Liberty Years 1981-1983 is a great four CD box containing these four albums).  A few years ago, they found out that fans were making Facebook pages dedicated to the band, and frontman Sal Soto told the other guys they should do another recording together and surprise the fans, so in 2021, the version of the band who was responsible for their first two albums, released a remake of the track “Inside Outside”, originally on their 1981 debut album.  This caused the fans to start talking about new material and now forty years after their final album was released, Classix Nouveaux is back with Battle Cry, an outstanding new album that in my opinion is even better than their earlier releases.  While it’s a given that the album is going to have a much better sound and production, another big difference is the fact that while the synths that were so prevalent before are still a vital part of their sound, Gary Steadman’s guitars are a much bigger piece of the puzzle this time around. “Prelude/Fix Your Eyes Up” kicks the album off with the relaxing ambient prelude, then as “Fix Your Eyes Up” starts, the drums kick in along with swirling guitar, pulsing synths and a super funky bass, all topped off with Sal Soto’s vocals (just as strong as ever) resulting in an extremely catchy track and a great opener.  The title track is up next and really show the band moving in some new directions.  It starts off with what sounds like a crowd in an ancient coliseum followed by bagpipes, a galloping beat kicks in, and then it largely becomes, for lack of a better term, a battle cry chant with synth blasts and a strong guitar solo.  Harkening back a bit to the New Romantics era, “Wretched" is a dreamy, somewhat laid-back track with an undercurrent of Gregorian chants in the background.  After opening with a short guitar riff and a droning synth that then leads into the sounds of a symphony warming up, “Final Symphony” blasts you with a heavy synth beat before shifting back and forth between that and a softer vocal and synth section and wrapping up with another strong guitar solo.  It’s a really fun tune with an infectious, almost headbanging drive.  Starting off with just an acoustic guitar (something new for the band) and then vocals with a gentle synth undertone, the gorgeous ballad “No Do Overs”, slowly evolves into an orchestral section.  At its quieter moments it has a bit of folk tinged prog and interestingly the lyrics are all taken from hit songs of the eighties.  Bookended with a spoken section and with lyrics inspired by the end of the Book Of Revelations, “Revelation Song” is a midtempo track with heavy synth beats and super funky bass along with some really interesting, kind of mysterious sounding, guitar and some orchestration with horns towards the end.  Next up are the two reimagined tracks, both of which are less cluttered and of course have a more modern sound.  “Never Never Comes”, is a little more laid back and smoother sounding, while “Interlude / Inside Outside” is much more laid-back and while still synth heavy like the original it has more emphasis on the guitar.  Closing things out is the epic six minute plus “Colour Me The Sky”, another track that opens with captivating acoustic guitar followed by the synths creating a moody midtempo track with some hints of prog.  Toward the end of the song the guitars kick in with a great solo and it turns into a rocker before closing out with a symphony and choir.  Unlike so many bands that come back with halfhearted efforts, Classix Nouveaux have returned with what I think is the strongest album of their career.  Hopefully Battle Cry is just the beginning.  

(Cherry Red Records)

Glenda Collins - Baby It Hurts - The Holloway Road Sessions

Glenda Collins got her start in 1960 when her father arranged for her to record some demos, which resulted in her getting signed to Decca Records at the age of sixteen and releasing three singles.  None of those ended up charting and she ended up being released by the label.  Her father had become impressed with Joe Meek’s recording of the song “Telstar” and in 1962 he got her an audition with him.  Meek didn’t audition many female singers but was taken by her and was determined to make her a star.  Over the next few years, they released eight singles (along with their flip sides) and recorded numerous other songs that remained unreleased.  None of those singles reached the Top 40 but are all collector’s items today.  Baby It Hurts - The Holloway Road Sessions 1963-1966 is one of the latest collections compiled from Joe Meek’s Tea Chest Tapes archive and is a stunning collection containing seventy-four tracks, of which sixty-six were previously unheard.  

Discs one and two both start off with a variety of alternate takes and backing tracks of the sixteen songs that made up those eight singles (when compiling these box sets, they decided to only include recordings found in the Tea Chest Tapes, so the actual singles are not here).  If you listen to the three singles she released before teaming up with Meek, it’s obvious listening to these what a difference he made as a producer.  There are so many great songs here, and Collins' voice is so strong and full of emotion it's hard to believe none of them became hits.  Tracks like the fun, infectious "I Lost My Heart At The Fairground", the bouncing "If You've Got To Pick A Baby" and “Johnny Loves Me”, where her vocals just exude happiness, are perfect examples.  Then there is the soulful “Baby It Hurts”, which has a powerful vocal performance, and the lush nicely arranged “Something I Got To Tell You”.  Shifting away from the poppier side is “Though Shalt Not Steal”, an all-out stomping rocker where Richie Blackmore was allowed to stretch a little, absolutely tearing it up on guitar.  Many of the b-sides are just as strong including “Feel So Good”, “Nice Wasn’t It”, with it’s rockabilly beat and thumping bass, "Everybody's Got To Fall In Love", "Paradise For Two”, which has some nice organ fills and strong vocals, and the laid-back, lilting sound of "Don't Let It Rain On Sunday".  Since Meek had a tendency to speed up singles to make the singer sound younger, many of these are here for the first time in their original speed, and there are many versions that are just backing tracks or vocal takes without the overdubs, that give real insight into Meek's process.  A few other tracks of note are an alternate take of “Been Invited To A Party”, which is a little slower and has a completely different beat, and "Feel So Good" (vocal take 4) featuring a different guitar solo from Ritchie Blackmore.  Two different versions of "Though Shalt Not Steal" are included, one which was before Blackmore's guitar was added, and another that's slower with a different Blackmore solo.  There is also an alternate version of Collins' last single "It's Hard To Believe", which was rejected by the label.  That song was released with explosion effects and very political lyrics, but in its original form (widely bootlegged from an acetate over the years and finally released in a studio version here) the lyrics were about flying saucers and had Meek's well-known space like effects.  Discs one and two each close out with two different versions of five tracks that Meek and Collins recorded that didn’t make it onto singles.  “You’re Gonna Get Your Way” is a punchy pop tune with a really tight performance from the band, and “Run To Me” has hit written all over it and is also included here in an a capella version that really shows how strong her vocals were.  There’s also the folk-tinged pop of “Self Portrait”, her rip roarin’ bluesy take on Ruth Brown’s “This Little Girl’s Gone Rockin’” (written by Bobby Darin and Mann Curtis) and the quirky waltz-like “C’est La Vie”, which to me is actually the worst song here.  

At one point Meek was considering releasing an album from Collins and The Riot Squad, but due to his untimely death it never materialized.  Disc three opens with seven covers recorded during their sessions together with “Mockingbird” (featuring additional vocals from The Riot Squad frontman Keith “Nero” Gladman), “Can I Get A Witness”, “I Who Have Nothing” and “Lover Come Back To Me” among the highlights.  Disc three also contains numerous other previously unheard songs.  Many of them had great potential to be hits including her take on The Beatles "This Girl" and the Meek track "Love Story", both of which allowed her to show the higher range of her voice.  Mel Tillis' "Walk On Boy" is an extremely catchy, honky-tonk tinged track and "Hear That Train A'Coming" is more soulful with a great galloping beat.  There are also a couple of Meek tracks in "Put A Ring On It", a super bouncy and fun song that had been a hit for Les Paul and Mary Ford, and "In The Garden", which eventually evolved into the song "Paradise For Two".  More for Meek fans that like to dive deep, there are seven demos of him singing future Glenda Collins songs completely off key, but usually giving it his all.  Included in these is his duet with her on "My Heart Don't Lie".  The box set it completed with a fantastic booklet with very comprehensive sleevenotes from Joe Meek Society's Craig Newton, along with new previously unseen pictures.  This is once again another highly recommended Tea Chest Tapes release.  

(Cherry Red Records)

The Haptics - Zero Gravity

The Canadian four-piece The Haptics are back with their new three song EP Zero Gravity, the follow-up to last year’s full-length debut second-best.  Self-described as post-punk, their music is driven by guitars that walk the line between grunge and shoegaze, along with frontwoman Jin’s goth-like vocals, and prominent bass and drums that provide an always infectious groove.  While the songs are well-produced and polished, and aren’t lacking in hooks, there is also a darkness that runs throughout the EP and in the case of “Mouse” they also show their punkier side.  A worthy follow-up that's well worth discovering if you haven't already.  

(SODEH Records)