Rolling Past Expiry Hard Rock 2010

plus, nowadays anyone with chops who isn't into alt/punk/diy/indie just joins a metal band. cuz at least they can - hopefully - play live and see a little money (very little probably, but a little). if they are lucky. and then maybe down the line release a side-project hard rock/stoner album that nobody buys. except stoners. some of those records can be okay. metal dudes pulling out their 70's bong riffs. (blues and jazz being the only other chops-driven genres still around. but jazz and blues also genres where you will make even less money than a starving metal band.)

Ted on his most recent screw up:

http://dickdestiny.com/blog1/2010/08/18/ted-cops/

Never heard of Endless Boogie until Pitchfork reviewed Full House Head the other day. Listening to it now, and they are officially the first good band I've ever learned about from that site. The riff to "Empty Eye" is pure Junior Kimbrough awesomeness. What I like about these dudes is that unlike a lot of other contemporary heavy blooze-rawk boogie outfits (Amplified Heat, for example), they don't tip too far in the direction of stoner metal. They're definitely in the spirit of early '70s stuff, but unique. Like this a lot.

Robotic 80s production was part of it, anyway. That cannon-shot snare on the two and four. In the 70s, with the drummer back in the mix, he could do much more. The 80s turned even great drummers into timekeepers. If you played more than just a basic backbeat, you'd clutter up the mix.

I think in the 70s there was a synchronicity between what recording technology could reproduce and what rock bands really sounded like. In the 80s the recording tech left the musicians in the dust.

Years of ilm have trained me not to attach a value judgment to any of that, though. Can't stop progress...

Years of ilm have trained me not to attach a value judgment to any of that, though. Can't stop progress...

Mutt Lange is the kindest, bravest, warmest, most wonderful human being I've ever known in my life.

Feelgood story about a 14 year-old fan meeting Mike Campbell at a Tom Petty & The Heartbreakers show. No, seriously. It's good.

Touching story on legacy rock and the young, if you haven't seen it, from another ILM thread.

Yeah, that thread has already turned into some tedious "anti-rockist" bullshit.

So what do people here (assuming anybody's still here) think of Deep Purple's Perfect Strangers (from 1984)? Popoff gives it a 10, but it's been hitting me more like, oh, a low 8 or high 7, maybe. All sounds fine, but none of it blows me away. My wife, on the other hand, thinks it has two great songs -- "Knocking At Your Back Door" and the title track (which partly reminds me of "Kashmir"), both side openers, and both of which she says she remembers from '80s rock radio in Houston, but thinks the rest sounds meh to her -- too simple, not prog-dynamic enough. I like those two cuts (neither of which I've ever heard on the radio or anywhere else myself, I don't think, though "Knocking" was apparently a #61 single and album went #17) fine (also like "A Gypsy's Kiss," which is fast, like they're trying to keep up with NWOBHM -- as if Purp wasn't just as fast long before NWOBHM to begin with -- but my wife calls it "too hair metal," because of the vocals I think.) Overall sounds like Gillan's singing is more operatic, sometimes almost like he's chasing Halford or Dickinson, and why the heck would he want to do that? Nice tasty organ from Lord all over, but when Blackmore's not finding a good riff he's doodling too much. I dunno, the record's fine, I'll keep it, but I have no idea why people would call it a classic. Actually, even Popoff doesn't seem to like the last two cuts on Side Two (25% of the album) much. (He makes the "Kashmir" comparison with the title song too, though, I just noticed.) Wouldn't swear this is a better album than Abandon or Bananas, the two Purps I liked from 1998 and 2003. And it's definitely not in the neighborhood of their best ones from the early '70s, not even close.

By the way, never answered him, but I obviously agree with George about Nashville picking up the hard rock mantle, inasmuch as anybody has (since I've been saying that myself for the past several years.) Also don't disagree that "a lot of the early punk rock bands often did come from an area in the vague vicinity of classic rock"; what I said above about punk's rejection of blues forms mainly refers to punk starting in the '80s, I think, especially with hardcore (though there were of course some exceptions there, too, at least early on. And of course alternative rock still has bands like Black Keys and White Stripes and Drive By Truckers who like the blues and classic rock as much as anybody in Nashville does; I'm just usually not as excited about what they do with it, I guess.)

Re Perfect Strangers, I don't even remember that about it. The momentary enthusiasm, at the time, was tied to the fact that it was a reunion of the classic line-up.

And it wasn't just that Nashville picked up the hard rockers. Went the other way, too, I think. If you wanted to rock and weren't for the children set (and/or wanted a more classic white man's cartoon image) you had to go country. You didn't have to throw out all your clothes. Well, maybe you did if you were in Dangerous Toys.

xp Speaking of current bands said not to hate classic rock, anybody heard this new Sword album? Should I bother with it, or skip it?

And speaking of punk and blues, George, have you ever heard this 1993 LP by Suplex Slam, The New Heavyweight Champions Of The World? Features Jonathon Hall (of Backbiter non-fame) and Samoans alumnus Billy Vockeroth. Very wrestling-oriented, as the band name and title suggest, and hence sharing some reference points with Rancid Vat (in "Politics Of Wrestling") and maybe even, uh, Dick Destiny and the Highway Kings. Covers: Richard Hell "Love Comes In Spurts", Peter Green/Fleetwood Mac "Looking For Somebody," Howlin' Wolf "Down in The Bottom," Robert Johnson "Phonograph Blues," plus two Shernoff-credited titles ("Fireman's Friend," almost six minutes long here, and "Backseat Boogie") that I take it come from those early Dictators demos that George always talks about but I've shamefully never heard. Anyway, a pretty decent (if sometimes kinda clutzily sung) hard rock album, as ones from the dire '90s go.

Also been playing Ducks Deluxe's Don't Mind Rockin' Tonite (released in '78 on U.S. RCA, but apparently culled from a couple '74/'75 U.K. LPs I've never seen), and it's clear from "Two Time Twister," "Paris 9," and especially the awesome "Fireball" that Sean Tyla was clearly the classic rocker in the band (at least if the Stones and early '70s Lou Reed count as classic rock.) The two Motors guys are more powerpoppers; Nick Garvey's "Please, Please, Please" is the most Beatley thing on the record, and the Searchers wound up covering Andy McMasters' Mersey-jangle "Love's Melody" a few years later. "Saratoga Susie" and "My Master" are good Chuck Berry ripoffs, and I like the pub-band covers ("It's All Over Now," "I Fought The Law," Them's "Here Comes The Night"), but it's really those three Tyla cuts that come closest to knocking this out of the box.

(Uh, "My My Music," that one song's called, not "My Master.")

(And "very wrestling-oriented" might be an exagerration in re: Suplex Slam, given that there's only one song that definitely seems to be about wrestling. I can't say for sure what "Fistful of Moolah" is about, except moolah; that one and "Saturday's Drunks" and "Worn Sneakers" pretty obviously come from a Dictators-like sensibility, though. Just lots of Handsome Dick Manitoba in the overall feel of the thing, so the record sounds wrestling-oriented even if the words are usually about other stuff.)

i used to have that ducks deluxe collection and i loved it. man, i've been listening to so much that fits this thread i wouldn't even know where to begin.

George on Sean Tyla/Tyla Gang upthread, btw:

Rolling Past Expiry Hard Rock 2010

Those two singles from Perfect Strangers got shitloads of radio airplay on the NYC rock stations. I remember them quite well from my childhood.

Well, there was the Fabulous Moolah. Who I used to see on Saturday mornings with the rest of the bottom-out-of-sighters in Schuylkill County.

Re Suplex Slam, you got yourself something rare. Only ever saw one copy of it. At a latter issue Samonas gig in Hollywood, when Backbiter was the Samoan backline ('cept for the drummer), someone brought in a copy and gave or showed it to either Hall or Saunders.

Have never heard the Ducks Deluxe band, although have always thought they might be up my alley.

ian gillan band's child in time album was sounding really good to me last night. perfect strangers is one of those cases where the first track is my fave by a mile and then things never reach those heights again for me. but i like the record. they know what they are doing, obviously. lyrics to my fave track, however, just beg a LOT of questions:

Sweet Lucy was a dancer
But none of us would chance her
Because she was a Samurai (well, which is it? is she a dancer or a samurai?)
She made electric shadows
Beyond our fingertips (?????)
And none of us could reach that high
She came on like a teaser
I had to touch and please her (wait, you just said that you guys wouldn't chance her!)
Enjoy a little paradise
The log was in my pocket
When Lucy met the Rockett (she met the rocket when it was in your pocket? plus, what is it doing in your pocket? kinda weird.)
And she never knew the reason why (????)

listening to *get the knack* for the 5th time in two days and it really is kinda perfect, isn't it? not a bad song on the album. feel dumb that i don't own copies of the next two albums. i don't think i've even heard their third album, round trip.

Got most of the way through that new Sword album in the background; decided I can live without hearing the rest, or trying again. Don't plan to waste time expending the energy figuring out why, either, though there's definitely something muffled about the vocal sound that bores and/or bugs me. Liking the new Hawkwind album Blood Of The Earth (which, uh, sounds like Hawkwind) more. Not sure how much I really need another Hawkwind album. But it's kind of heart-warming that they're still at it, after all these eons.

As is so often the case, you're my mirror image; I think the new Sword is their best one, in large part because the frontman started singing instead of just yelling, and I think the new Hawkwind is awful, and doesn't even sound like them most of the time (of course, I stopped listening after Warrior on the Edge of Time, so maybe this one sounds like their '90s output).

Well, I'm not saying Hawkwind are anywhere near as good as they used to be -- and I haven't kept up with them for the past few decades either, tbh -- but I sure can't think of anybody else their new one sounds like. (Also, I've only played it in the background too, and just once, so I'm not endorsing it. Just saying it sounded pleasant, more or less.) As for the Sword, I'm also not denying it's possible they've improved; had no use for their earlier stuff, either, though I'm not sure how much of a chance I gave it. Very possible the vocals were even worse on those. But calling the vocals "singing" on the new record still seems like stretching things.

You should listen to Warp Riders again. And I don't mean in the background while vacuuming or whatever. Give it a real chance. The drummer's terrific, there's some great organ stuff going on that adds a psychedelic/space-rock element to what they're doing, and they've moved beyond the Sabbathy stuff they made their name with - there are a couple of songs on the new one that remind me of Thin Lizzy and ZZ Top circa Degüello.

Really? Wow...Which songs? I'll start with those (and yeah, try not to vacuum while they're on. Might sort laundry, though.)

Here's my Cleveland Scene review:

Austin metal band the Sword has always had great riffs, but the execution was usually more about passion, not precision — until now. On their third album, the Sword tighten their game. The most immediate change involves frontman J.D. Cronise, who's learned how to sing. Warp Riders is a sci-fi concept record — at least that's what the group is claiming — so the music is more technically adept (guitar solos, ahoy!) and more progressive, with organ filling out several tracks. There's more boogie in the Sword's metal too: "Lawless Lands" sounds like a heavy ZZ Top, and "Night City" is a radio-friendly hard-rock anthem. Drummer Trivett Wingo remains the Sword's secret weapon, thumping out minimalist grooves that combine Thin Lizzy and Motörhead, while the guitarists play sludgy, head-banging riffs and screaming leads. But Warp Riders isn't retro — it's an instant classic.

"Night City" is the one that reminded me of Thin Lizzy - mostly in the guitars.

trivett wingo! for real?

Hard rock as combination pathetic freak show and guitar calisthenics exhibition:

http://new.music.yahoo.com/blogs/stopthepresses/263871/10-year-old-shredder-takes-the-stage-with-ozzy/

Win one for the Geezer.

I've met that kid and his parents - interviewed him for Metal Edge. He can't write his own songs; he's basically a jukebox with about a six- or seven-song repertoire ("Paranoid," "Crossroads" a la Cream, "Mr. Crowley," a few others). Nice kid, though.

A few years ago there was another kid like this one, only he was an American. It was in the doc on
Paul Green's Scool of Rock in Philly. The kid's guitar was almost as big as he was and his parents were trying to figure out how to appropriately market his calisthenic ability. I think Green had him play one of the solos in the band's version of Zappa's "Inca Roads." Which is pretty hard.

The Sword definitely growing on me (thanks for pushing me on it, Phil -- excellent riffs all over, "Night City" could even make for a really catchy hard rock single, and the distanced vocals -- which strike me more as a stoner-rock thing than convincingly '70s -- are bugging me less the more I listen, especially in that song); new Hawkwind shrinking on me (sometimes I get the idea they're trying to do some kind of industrial electrodance thing, or maybe even quasi-Chrome -- though I suppose Hawkwind beat Chrome to a lot of what Chrome used to do), and here and there I almost convince myself the hushed decadent nasal-whined robotitude of some of the vocals is just goofy and Tuetonic enough. But actually I think both the guitars and singing are too subdued and shoegazey in the long run, and none of the songs have really begun to sink in as songs, and I'm running out of patience. So, spoke too soon above, about both records.

And like Phil suggested, by this point the Sword are beating Hawkwind at Hawkwind's very own soaring space-psych game too (not that they ever sound like Hawkwind per se', least not as I've noticed yet.) Not sure how much of Warp Riders I actually love -- still only picking up on a couple concrete songs -- but I am noticing more meaty details each time I play it. Can't think of many other albums this good this year by young bands I'd classify as hard-rock/metal -- White Wizzard, maybe, though they don't often seem to match the Sword's best melodies, and they're less varied. Though again, that probably says more about the genre's shitty state than anything else. Real slim pickings, so nice to hear one that's more than just tolerable. I should catch them live, if they ever wind up back in Austin. (There was an interview in a local paper a couple weeks ago: Guess they're touring Australia with Metallica now?)

(Actually, I should say "young bands that most other people would classify as "hard rock/metal" -- I'd have no problem classifying Flynnville Train, whose new album I'd take way over the Sword's or White Wizzard's, as both, though they're generally considered country, and come to think of it they're probably not exactly young. I'd classify Mother Truckers -- who I saw and liked live here Saturday night -- as hard rock, but not metal; This Moment In Black History, Wounded Lion, Eddy Current Suppression Ring, and Home Blitz probably more as punk, or even college rock in a couple cases though too good to deserve that insult. Though most of them are probably more metal than some LPs in Stairway To Hell, I admit. And I still wish they were all better than they are.)

(And right, again, then there's hard-rocking Nashville stuff, which I'll just shut up about.)

Speaking (sorry) of college guitar rock, I found another copy (first one since I got rid of my old one, early '90s or so) of Aussies the Celibate Rifles' 1985 Quintessentially Yours (#309 in Stairway) for a buck a few weeks back, and I still like it, especially the two long guitar jams at the end of each side, suburbia screed "This Week" and wah-wah-pedaled (and supposedly Moral Majority baiting) "God Squad"; otherwise, definitely think the faster, sillier more Vibrators-like songs on Side One don't hold up as well as the slower, more serious, Wipers-like stuff on Side Two (for instance, "Killing Time," which mentions the New Order {could be a reference to the Ron Asheton/Dennis Thompson post-Stooge/MC5 band that later merged with a couple Radio Birdman guys into New Race} and "inferior races," but the vocals are mixed down and I don't know much about Aussie nationalism or, uh, subjugation of aborigonal races there, or whatever.) Don't really hear the Mott or early Seger influences I claim in the book, much less the Detroit influence often otherwise claimed for Aussie bands in general at the time, which they just don't have enough hard r&b groove in the rhythm section for; also, calling "God Squad" "Sabbathoid" overstated the case, but it's still definitely the heaviest thing on the album -- which fwiw was supposedly a comp of earlier Oz stuff, thus the '82/'83 copywrites on the label. Never got into the band otherwise, though, except for their "Sometimes (I Wouldn't Live Her If You Payed Me)" 7-inch 45 from 1984, which I amazingly never got rid of.

Also, definitely liked the Rifles LP more than Husker Du's New Day Rising (Stairway #237), which I always considered their most consistent record back then but was actually pretty disappointed by when I pulled it out for the first time in forever a month or so ago; only four or five tunes had stuck with me, and even those don't strike me as particularly great now -- really, the production is so thin and cloudy that it's hard to even get into anything on the record anymore; they've got pretty melodies here and there, but they're very intermittent, so it's hard to hear why I liked it so much at the time. Die Kreuzen's October File was less great than I remembered it, too -- singular, but kinda shapeless. Thought Death Of Samantha held up better than the Huskers or Kreuzen, too.

Related, from the 1986 thread, a few days ago, about relistenting to these Clevelanders earlier this year:

re Death Of Samantha, I liked Strungout On Jargon less than their '87 Laughing In The Face Of A Dead Man EP (the one where they cover "Werewolves Of London"), which surprised me. And have always thought '88's Where The Women Wear The Glory And The Men Wear The Pants was their best album -- they definitely improved, got better as players and songwriters, as they went on, up to that point anyway. (Haven't heard their later stuff in years; thought at the time it wasn't so good.)

Unhinged as usual, this Nugent column obliquely defending odious Roger Clemens -- which manages to work in a non-sequitur calling Nancy Pelosi a witch:

http://www.washingtontimes.com/news/2010/aug/30/charging-the-mound-over-clemens/

There are many measures of failure of intellected in 2010 USA. That their is an audience for someone who writes this badly even with editors propping him up, no matter what the politics, is one of them.

Considering Nugent's standard stand on people who use drugs, which is to mercilessly throw the book at them, it's not even internally consistant.

Here's something local:

Rock n’ Roll Salvation Festival - Homage To Jimi Hendrix
Saturday, September 18th, 2010
5PM Door | Blue Star 2200 East 15th St. Downtown LA 90021 | 18+ | $10

Featuring:
Fireball Ministry
Sasquatch
Hallowed Engine
Sylvia Juncosa
Trash Titan
Zinngeschrei
=================

Didn't know Fireball Ministry was still around. Even more so, Sylvia Juncosa. This is just the type of small venue where I used to see FM do great sets. Musta been at least five-six years ago.

Think they put out an album this year or last, not sure which, but I couldn't really get into it. Actually, the only CD of theirs I still have, I think (definitely the only one I ever pull out), is their FMEP from 2001 -- and that one, partly for the Alice Cooper ("Muscle Of Love") and Aerosmith ("Movin' Out") covers. Maybe if I'd seen them live more I would've connected with later stuff.

i would think that would be fun, gorge, are you gonna go?

I might be going to that.

Possibly. Saturday's are busy in Sept. Football in the morning/afternoon. Rehearsals in the early
evening.

The latest Ted, possibly the best. Ted writes an anti-labor Labor Day column as he readies for a gig in Detroit:

http://dickdestiny.com/blog1/2010/09/03/ted-plays-detroit-where-he-hates-the-middle-class/

George, you are out-doing yourself with those Nuge posts. Last two, especially. Really hope you can turn them into a book -- also starting to wonder how long it goes before Ted notices them himself. I think his head might explode.

Now, totally off-topic -- just figured George and Scott might be halfway interested in this -- Joe Queenan in the NY Times takes a literary tour of Pottsville, Reading, and Scranton. (Had no idea that a team from Pottsville were almost NFL champs in 1925, or that Pottsville ever had an NFL team at all for that matter.)

http://www.nytimes.com/2010/08/29/books/review/Queenan-t.html

all hail pottsville!

http://media-cdn.tripadvisor.com/media/photo-s/00/1b/eb/77/d-g-yuengling-and-son.jpg

my roommate in wilkes-barre during my one failed attempt at higher education was from pottsville. stan was a good polish boy who went to church EVERY sunday.

speaking of yuengling, wanna know if gorge got in on any of yuengling's pocono mountain brewskis. circa 1978. they should bring them back!

http://beercansrus.com/mcart/images/poconomtnset1.jpg

My birth certificate says I was born in Pottsville. I had my tonsils out in Pottsville. My dad was a Pottsville boy; he used to tell my mom that Pottsville was built on 7 hills, like Rome. I'd roll my eyes.

My grandfather used to always talk about the Pottsville Maroons, the pro football team. I'd roll my eyes. Schuylkill County had a semi-pro team of NFL rejects called the Schuylkill Coal-Crackers when I was in high school and the first couple of years of college. They were unbeatable in their league. Whenever I see the movie with Gene Hackman and Keanu Reaves, "The Replacements," I think of the Coal-Crackers.

I bought all my early Blue Oyster Cult albums at Pomeroy's in Pottsville. I got Humble Pie's Rockin' the Fillmore, at the first shopping mall in Schuylkill County -- in Pottsville. Boy, that was a good day. My grandpa also bought all my first Beatles records in Pottsville.

He had just bought one of those new-fangled stereos. You know, the little trivial record player with two speakers, but mounted in a big two hundred pound wooden cabinet that was furniture. So he was really hep to test the system and that included using me as a subject and what he thought I might like.

Schuylkill County also had the Molly Maguires. We could use the Molly Maguires now.

Yes, I remember those Yuengling cans pictured above. That was still in the bad-old-days of Yuengling, when it was still regarded as piss in county. Surprisingly, it's alternative brand made in the same building, Old Chesterfield, was not. We all drank Old Chesterfield when unable to get Gennessee Cream Ale. Schaeffer, made outside Allentown, was worse than Yuengling, however. Like Chesterfield, it's altie off brand, Piels, was not. Piels was often a fave in the car.

If you had a roommate from Pottsville who went to church every Sunday in college, he probably was a student at Nativity Blessed Virgin Mother. Nativity had the best hard rock dances -- every Tuesday night, open to all teens, in the summer.

John O'Hara was hated in Pottsville. Surprisingly, the worthless and deadening Conrad Richter, who was a Pine Grove boy -- my hometown -- was beloved. It's like saying you relished reading James Fenimore Cooper.

Schuylkill County was the home of cable television. We had it before anyone else. Pottsville even had an early version of HBO called the Star Channel in the early Seventies. My grandparents had it.
I used to think it was great. The grandparents did not. They would say surprisingly stupid things like, "Who wants to watch year-old movies anytime during the day?" I'm not joking. I would be left speechless when I was there. Star Channel failed in Pottsville.

The Queenan piece darts around quite a bit. He goes to Reading and obsesses on Shillington, one of the minor suburbs. Then he's in Dorney Park, outside Allentown. Dorney Park wasn't even as good as Hershey Park. But I did see Joan Jett a lot at Dorney Park.

He misses much of the coal mine culture of Schuylkill. Literally, when I was on the high school wrestling team, had our opponents had mats where you had to brush the coal dust off them before the start of the meet.

That enough Pottsville stuff?

Ha ha, awesome, I hoped posting that link would get a ball rolling. I want to hear more about those Nativitiy Blessed Virgin Mother teen hard rock dances, though! We sure never had those at Our Lady of Reguge (Or St. Isaac Jogues, or Immaculate Heart Of Mary for that matter.) Were there local bands, or a DJ? What hard rock songs got people dancing most? Did girls go??

And meanwhile, here is Chris Stigliano on a bunch of bands I haven't heard that sound like they might be applicable to this thread -- Tank, Stonewall, Fraction -- plus one I have heard (Los Saicos) who recorded their dozen songs in Peru in the mid '60s, and who clearly get compared to the Sonics way more from their screaming than for their rocking out with musical instruments (which they don't, much.) Still, "Demolición" and "Fugitivo De Alcatraz," especially, sound insane and unhinged enough that I don't mind owning their CD. (They also get compared to the Cramps, but I'm not hearing any rockabilly at all, really -- Guess just because they play real sloppy, or something. Anyway, Stigliano admits they're overrated, too, but if anything he understates the case):

http://black2com.blogspot.com/2010/08/so-what-else-is-old-dont-fret.html#links

...And I've never even really been much of a Cramps fan to begin with, to be honest. But the bottom line about that Los Saicos CD is that they just basically sound inept. Which I guess, for some garage rock fanatics, is enough. (They're not even very catchy.)

And actually, maybe Brother Rice or St. Mary's (all-boys schools though) had teen rock hard dances, for all I know. (I stopped going to catholic school in 9th grade. And I meant Our Lady of Refuge {where I went through 8th}.)

I want to hear more about those Nativitiy Blessed Virgin Mother teen hard rock dances, though! We sure never had those at Our Lady of Reguge (Or St. Isaac Jogues, or Immaculate Heart Of Mary for that matter.) Were there local bands, or a DJ? What hard rock songs got people dancing most? Did girls go??

Did girls go?? Surely you must be joking, Mr. Feynman! Companies of girls went. That's why they were so popular. You could learn how to do all sorts of things on the grounds and in cars on the periphery
of these dances.

Always had a live band. Specifically, the Jordan Brothers in their hard rock long hair phase.

They'd morphed out of being an obscure Sixties combo act with the first version of "Gimme Some Lovin' to chart in the US.

http://www.rhapsody.com/the-jordan-brothers

I remember my jaw hanging open when they did something from the second Trapeze album.

These things were in the summers, early to mid-70's -- when, basically, girls still tried to dance to hard rock (or at least feigned enjoying it because there was nothing else).

And you didn't have to go to Catholic school to get in. That was how broadminded the friars and nuns were toward the local teenagers. So we had nothing like that from Pine Grove Area in the summers and it was only a fifteen to twenty minute ride.

I made the same Sonics comparison w/r/t Los Saicos in my AMG review, and the Peruvians got the better end of it - I think the disc rocks plenty. At least as good as lots of neo-garage stuff I was listening to in the '90s like the Mummies or the Mono Men, and in many cases better.