Style: Pub Rock, New Wave, Reggae
Similar Bands: Police, J Geils Band, Blasters, King Bees
One Word Review: Live Pub Band Envy
Based Out Of: Los Angeles, CA
Label: Rhino Records
Twisters - Cover, Record
Twisters - Back, RecordTwisters (1980)
It's Only Money 2:45
Where Did Out Love Go? 2:38
Ladies of the Night 3:02 /
Going Back Home 2:51
Vampire Bat 5:07
Album Rating (1-10): 8.0
Members & Other Bands:
Mike Wainwright - Vox, Guitar
Jason Hickman - Guitar, Vox (Sugarloaf)
Fred Grabert - Guitar, Keys, Vox (The Wedge, Ronnie asnd the Heroes)
Phil Gilbreth - Bass, Vox
Richard Paine - Drum, Vox (Fisherfolk, Ronnie and the Heroes)
Frank Paine - Artwork, Design
Chris Willman - Photo
Bill Gazecky - Producer, Engineer
Geoff Hagins - Manager
Unknown-ness: Never heard of them, but I like the cover, the angle of the font, the bold colors, and the band photos. Looks like they'll have a lot of energy from the design elements and the band name. I imagine it will be solid pub rock & garage made new wave.
Album Review: From what I’ve seen online and read, these guys were huge in the SO-Cal scene in the late 70’s early 80’s, playing with and alongside many big draw names. Even their support staff had their fingers in much more famous pies, be it films like Trading Places or musicians like Bette Midler or producer to the Doors And Janice Joplin. Despite the fact that they were in a film called Zapped, they never made it past this locally produced and sold EP, in fear of market saturation when their first full length came out- which never did. They still have a small cult following on their facebook page, full of 80’s bills and memorabilia from their time in the sun.
“It's Only Money” kicks off with a new wave organ and bold power pop chords. The vocals waver and resonate a little like Glenn Danzig. The energy and emotion drive the song forward. The end of the song features a shout along section, which, knowing their live shows were very crowd interactive, must have been fun.
“Where Did Out Love Go?” is a funky, reggae cover of the famous Supremes song. Once it gets to the chorus, the energy increases, and the nervous, jittery vocals pick up the pace and energy, but just for the chorus. By the third chorus section, the vocals attempt to put on a Janice Joplin outfit, and it doesn’t quite fail, but it is not great.
“Ladies of the Night” is a slow guitar strummed ballad. This is the time you’d go get a beer or slow dance with your choice of the barroom lot.
“Going Back Home” bounces in with a jaunty pub bass line. The vocals reign in their anxiousness, and sing a straightforward pop-oldies, bluesy tune.
“Saturday” has a Bow-Wow-Wow-like guitar intro. The vocals are jittery and nervous in a fun, new-wave way. The song structure is very basic of verse, bridge and chorus, with appropriate anticipation and delivery. It just lacks one element to solidify the song as an insanely catchy tune. The basic rhythm guitar could be a little faster or have a supporting synth element.
“Vampire Bat” was perhaps their most popular original tune, apparently, causing a fan-made dance of the same name to be created. It starts very grandiose, with the keyboard soaring in a comforting crowd of cushion. Then the elements change, coming together to create a very fun, bouncy reggae pop gem. The vocals stutter and vibrate in all of the right places, reminding me a little of Danny Elfman or the Buzzcocks. The echo chamber on the guitar is clear throughout the song, and adds an island, surf element to the already sunny song. The guitar and synth play off each other, and the song continually builds up in octaves and the song could theoretically never end with such a fun, surfer groove.
Stand Out Track: Vampire Bat
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