Bruce Woolley & The Camera Club - The Definitive Anthology 1977-1981

Raised by a father who was a Dixieland clarinetist that introduced him to a variety of musical styles, Bruce Woolley formed his first rock band in his late teens.  After playing around with jazz rock, he started writing songs with three and four chords.  He was also doing manual labor in a tarmac gang at this time, and thanks to his boss, a former singer, he started playing the working men’s club scene in Leicester before joining Ivor Kenney’s Dance Band.  He started recording demos of the songs he was writing and in 1976 he moved to London and got hired as a songwriter for the publishing and production company Everblue Music.  Trevor Horn became the in-house producer there and when Everblue folded they wrote some songs together including “Clean Clean” and “Video Killed The Radio Star”.  Not long after the demos were recorded, the two parted ways due to their desires to move in different directions musically.  Bruce decided he wanted to form a band and the first on board was Dave Birch who had been playing guitar in The Vibrators.  He brought in drummer Richard Wernham (aka Ricky Slaughter) from The Motors, who also brought along his girlfriend bassist Marion Fudger.  Last on board was Thomas Dolby on keys.  When it came time to record their debut album, producer Mike Hurst said they should replace Fudger.  They let her go, which also led to the departure of Wernham, since he was her boyfriend.  They were replaced by Matthew Seligman and Rod Johnson, and that lineup recorded the hugely underappreciated English Garden album.  Not long after the album’s release, Seligman left the band and was replaced by Nigel Ross-Scott (he plays on the live show at My Father’s Place included here).  Dolby also ended up leaving the band after Johnson tried to strangle him after a fight over the window seat on a plane trip, an event that also resulted in Johnson getting kicked out of the band.  They were replaced by Nigel Glockler, later of Saxon, and Simon House who had played with Hawkwind and Bowie.  This new lineup went into the studio with producer John Wood and recorded their sophomore release.  It was more of a rock record, but unfortunately the label wouldn’t release the album and were also reluctant to have them go back in the studio, so the band ended up disbanding a short time later.  The Definitive Anthology 1977-1981 is a fantastic new three CD box set that includes an expanded version of the English Garden album, the unreleased second album, two live concerts, b-sides, demos and much more.  It's an absolute treasure trove with forty-one of the sixty-nine tracks previously unreleased.   

Mixing new wave and power pop with rock and glam, English Garden, which opens disc one, is an outstanding collection, that while largely praised by the critics, didn’t get the recognition it deserved.  The album kicks off with the bouncy new wave title track with its early synth blips from Dolby, followed by their take on “Video Killed The Radio Star”, which is similar to The Buggles’ version, but meatier and with less synths. “Dancing With The Sporting Boys” is a laid-back, kind of loping tune with a bit of a bounce that really showcases Woolley’s vocals, while “Johnny” (another Trevor Horn co-write) is a fast-paced, new wave track with a sixties feel (complete with handclaps), and “No Surrender” adds some Bowie-like glam to the mix.  Although the band says “Flying Man” was inspired by The Dave Clark Five’s “Glad All Over”, it has been pointed out that this hyper track sounds a lot like The Rezillos’ cover of that song.  Following the fast-paced pop of “You Got Class” and the short instrumental “WW9” is “Clean Clean”, the second track also recorded by The Buggles, which here has more of a new wave sound with a rock edge.  The somewhat laid-back “Get Away William” is up next and then it’s “Goodbye To Yesterday”, a really strong track with a driving beat and thumping bass that brings to mind Magazine, and “Goodbye To Yesterday (Reprise)”, a punkier take on the song.  Closing out the album is “You’re The Circus (I’m The Clown)”, a super catchy tune with a rock / new wave sound, a chorus full of power pop hooks and some great synth work from Dolby.  Disc one is rounded out with twelve bonus tracks, starting with “News”, an extremely catchy new wave song that was recorded during the English Garden sessions, but surprisingly left off the album.  Next up are a couple of early cuts released as The Killers.  This version of “No Surrender” is slower with less new wave and more glam, and is complemented with some cello, and “Killer On The Dancefloor” is fun, upbeat synthpop.  The next three cuts are album tracks that were rerecorded for the US.  “Clean Clean” is faster and more intense, “Video Killed The Radio Star” sounds a lot closer to The Buggles version and “Goodbye To Yesterday” is more synth heavy and slower giving it a bit of a new romantic feel.  The pre-Camera Club single “Bobby Bad” is a quirky pop ditty with a hint of Sparks, with another version of “You’re The Circus (I’m The Clown)” on the flipside.  This version is similar to the one on the album, but a little less rock and features Dave Birch on guitar, Geoff Downes on keys and Trevor Horn on bass.  Another pre-band track is the demo of “You Got Class”, which is edgier and more rock than the album, and to me a better version.  The final three songs on disc one were co-written and recorded with Horn and Rod Thompson for the punk rock musical Killer On The Dancefloor, which was actually performed at the Leicester Phoenix Theatre in the Summer of 1980.  “Going to The City” is a bouncy, kind of angular and punky new wave track and “Needletime” is very Bowie-ish rock opera glam.  Lastly is the outstanding “Sugar Daddy”, a rock opera sounding ballad comprised mainly of piano, vocals and drums.     

Disc two opens with the tracks that would have comprised their second release, Snapshots of Sound, which veers away from the new wave sound a bit, moving in more of a rock direction, as evidenced by the catchy, straight-ahead opener “I Set Fire To You”.  Released as a promo single, but never actually released, “Ghost Train” is an extremely strong track that’s a slower, darker new romantic song.  “Killer On The Dancefloor” is back again and this time is super infectious synth rock with punk energy.  Catchy, but not as straightforward, with angular guitars and a stabbing beat, “Trouble Is” was released as a single by CBS right before the band were dropped.  The hypnotic “Only Babies Can Fly” is a pretty, laid-back tune while “All Real Americans” is another super catchy, upbeat synth rocker.  With Simon House playing some beautiful syths and Solina String Machine, “Morning Shadows” is a very dreamy and hypnotic track.  Up next is another great version of “Ghost Train”, which is similar to the earlier one, but with synths that are a little dreamier.  Closing out the planned album tracks are the quirky rocker “All At Once” (flipside to the “Trouble” single) and “Warning Shadows”.  Eleven more bonus tracks, mostly previously unreleased, complete disc two, starting with his post Camera Club solo single “Blue Blue Victoria”.  Produced by Mike Howlett, who had just worked with OMD, it’s a catchy, upbeat pop tune with a lot of piano and synths that really show his influence.  The flipside is “1000 MPH”, a manic, fast-paced synth rocker.  A couple more solo tracks follow with the high energy new wave of “The Black Girls Understand” and a club mix of “Ghost Train”.  Following “How Do You Say Goodbye?”, another upbeat, hook-heavy, new wave tune are a handful of demos including “Too Late For Tears”, a bouncy track that’s a little on the quirky side with a bit of a dance beat and brief moments that bring to mind The Cars.  The demo of “Blue Blue Victoria” is more rock oriented with plenty of pop hooks but missing that Howlett influence of the single.  “You Got Class” is an earlier demo from 1975 that is a lot slower than the album version, but with an catchy beat, and “News” sounds a lot like the one on the album, but with some differences in the instrumentation.  The last two tracks are a couple of real standouts.  “House of Wax” is a rocker with all the elements of an eighties hit.  As you listen to it you can envision an early MTV video in your head, and it’s hard to understand why it was never released (Richard Thompson plays cimbalon on this track).  Lastly is “Radio Pictures (Bye Bye Love)”, a big sounding, yet dreamy and somewhat melancholy track that sounds very little like what they had done before but was instead reminiscent of the bands that were on the horizon at that time.

Rounding out the box set on disc three are a couple of great sounding live sets.  The first is from May 6, 1979 from a show supporting XTC at High Wycombe Town Hall, that was recorded from the sound desk by XTC’s sound engineer.  In addition to Woolley, the band for this show consisted of Birch, Dolby, Wernham and Fudger, the original pre-album lineup.  The performance is very high energy and at times even a little ragged, giving great insight to the very early days of the band.  The second was recorded on March 25, 1980 by WLIR Radio at My Father’s Place in Roslyn, New York.  Since it was recorded for a radio show, the recording itself is of course the better of the two and while the performance itself is again high energy (Woolley says of the show in the liner notes - “we perform the album at breakneck speed”) they sound tighter this time around.  Both shows make for an outstanding addition to an already stellar box set.  Also included is an extremely detailed booklet giving a history of the band, including quotes from Woolley, Birch and Dolby and song by song notes from Woolley.  The Definitive Anthology 1977-1981 is absolutely one of the best box sets I've come across in awhile and can't be recommended enough. 

(Cherry Red Records)

Semihelix - Deeper Space in Time / Tin Blvd single

With a full-length release tentatively scheduled for late 2025, Austin three-piece Semihelix is back with their latest single.  "Deeper Space In Time" starts of with an infectious meshing of jangly guitar pop and driving riot grrrl punk and builds and builds in intensity before settling into a slower, more melancholy groove.  At first, the flipside "Tin Blvd" has more of the jangle rock guitar but with a bit of a Pixies feel, but evolves into a very taut and tense, fast paced song that becomes almost manic, but still with a sense of melody.  This is another great single that really has me looking forward to the upcoming album.

(Semihelix - Bandcamp)

BLOKE - Living Without Expectations 

Originally from London and now based in Berlin, BLOKE, is an impressive new band led by German artist Jakob Buraczewski on vocals and guitar, and rounded out with Michelangelo Lamattina (guitar), Alex Kozmidi (bass), Michael Drummer (drums) and Martijn Smits (synthesizer, backing vocals. percussion).  Making their debut with two singles, they have now released the EP, Living Without Expectations.  It is an outstanding collection of songs that are often hypnotic, yet raw, noisy and experimental at the same time.  With its driving percussion, wall of guitars and heavy psychedelia, “Money Says” gets things going and to me is somewhat reminiscent of Love and Rockets’ “Mirror People”.  “Never Try” is a bit of a darker track, opening with a thumping bass and then shifting into droning psychedelia a la Black Rebel Motorcycle Club and The Jesus and Mary Chain.  Thanks largely to the bass, “Up Tight” finds them moving back in a more upbeat direction, while still maintaining a noisy guitar driven drone. Love and Rockets comes to mind again a little on “So Do I”, which ups the psychedelia with swirling guitars and a slow, mesmerizing groove that draws you in.  While that song shows a more diverse side to the band, the closing track “Tomorrow” displays even more.  It’s more melancholy than the rest of the EP with guitars that at times have a psychedelic spaghetti western feel and even a little harmonica.  A highly recommended listen and a band to definitely keep an eye on.  

(Tonzonen Records)

 

The Dickies - The Incredible Shrinking Dickies

Originally released in 1979, The Incredible Shrinking Dickies was the debut release from California punk band The Dickies.  Now, thanks to Captain Oi! Records, it has been reissued on both CD and red vinyl, along with six bonus tracks originally released on 7-inch singles.  In just over twenty-seven minutes, with only one song over three minutes, the original album contains thirteen tracks that are largely fast-paced punk, often bringing to mind The Ramones, full of pop hooks, occasional sound effects and noises, and an almost ever-present sense of humor.  Having said that, almost every tune has some other element added that adds to the uniqueness of their sound.  Tracks like “Give It Back” and the bonus track “I’m OK You’re OK” have some ragged piano that give the songs a garage rock vibe.  “Walk Like An Egg” starts out slow and psychedelic with echoey guitars, before exploding into an all-out punk tune, and along with “Poodle Party”, which includes frontman Leonard Graves Phillips growling and barking like a dog, mixes in a bit of a fifties rock beat.  The addition of sax from the band’s multi-instrumentalist Chuck Wagon (complete with a little bit of The Champs’ “Tequila”), takes the more straight-ahead “Shadow Man” and gives it a fresh twist.  While “Waterslide” is a super catchy track that’s closer to pop punk (including what sounds like old school video game blips), “Shake & Bake” is good, straight-ahead, old-school punk and “Mental Ward” sounds like what you would expect from a song titled that.  It’s noisy, chaotic punk with an almost manic pace and sound effects that include a twisted cuckoo clock.  The rollicking instrumental “Rondo (The Midgets Revenge)” is the only track over three minutes and is a complete left turn coming across like an upbeat Prog tune.  The album also contains three covers, which is something the band has become known for over the years.  This time around they tackle Black Sabbath’s “Paranoid”, The Monkees’ “She” (written by Boyce and Hart), and Barry McGuire’s “Eve Of Destruction” (written by P.F. Sloan).  They’ve also had a knack for doing great covers of songs you wouldn’t necessarily think a punk band would tackle and there are three included among the bonus tracks here that are perfect examples.  “Silent Night”, Simon and Garfunkel’s “The Sound Of Silence” and my absolute favorite, their take on The Banana Splits Theme, “The Tra La La Song”, which incredibly hit number seven on the UK singles charts.  The final two bonus tracks are “Hideous”, another more straight-forward, less pop, old school punk tune complemented again with piano and some solid guitar, and the mosh pit ready “Got It At The Store”.  For punk fans old and new, this is the perfect time to discover or rediscover the debut from this band that is going strong today with frontman Phillips and guitarist Stan Lee still in the band.

(Captain Oi!)