Dirty Water
The Standells
Tower ST 5027
1966
Lately it feels like the obituary pages are dictating the direction of my blog. I'm trying to get away from that but I hate the thought of not acknowledging the passing of Dick Dodd last November. He was the drummer and lead vocalist for the Standells. I've loved the Standells since I was in high school when I first heard them on the "Nuggets" compilation which featured their hit single "Dirty Water." A couple of years later I was lucky enough to find a nice copy of this album for five bucks at a record store in Concord, a Bay Area suburb. It was my first Standells album and it is still my favorite. The album gets off to a strong start with "Medication" by Minette Alton and jazz pianist Ben Di Tosti. It is a powerful rocker driven by a driving bass riff, a reverb-laden guitar line and a hypnotic organ drone. It is the most psychedelic track on the record, it reminds me of the Electric Prunes at their best. It is followed by a cover of Don and the Goodtimes' 1965 garage band classic "Little Sally Tease" which was written by Goodtimes member Jim Valley who would later join Paul Revere and the Raiders. It is a high energy cover with a prominent bass line and some exciting organ work from Larry Tamblyn, but it can't match the raucous intensity of the original. "There's a Storm Comin'" was written by the record's producer Ed Cobb. The song has a rhythm and blues sound to it. Next up is a cover of the Rolling Stones' "19th Nervous Breakdown." The Standells closely follow the original's arrangement but fail to reproduce the manic quality the Stones gave their version nor can Dodd duplicate Mick Jagger's sarcasm and contempt. Side one concludes with "Dirty Water" which was also written by Ed Cobb. The song has a tremendously catchy riff played on guitar and organ as well as arguably Dodd's best ever vocal. I find it amusing that a song that has practically become the Boston theme song was performed by a quintessential Southern California band that had never even been to Boston when they recorded it. Larry Tamblyn wrote "Pride & Devotion" which is a romantic pop song with a folk-rock flavor. "Sometimes Good Guys Don't Wear White" is another great garage band song courtesy of Ed Cobb. The song is driven by an insistent chugging riff and the cutting lyrics are delivered with a bit of a sneer from Dodd. Somehow the song failed to become a hit but it is so good that the record company stuck it on the Standells' next album, "Why Pick On Me - Sometimes Good Guys Don't Wear White" as well. The group offers up the garage band standard "Hey Joe" in an arrangement similar to that of the Byrds and the Leaves. They play it as fast as any version I've heard with lots of energy and a great Dodd vocal, but I give the Leaves' hit version the edge for its superior guitar solo. "Why Did You Hurt Me" was written by Dodd and the Standells' guitarist Tony Valentino. The song starts out like a garage rocker with a pounding riff and then has a romantic pop passage in the middle before finishing with a rave-up. It is kind of derivative, but it sounds great. The album concludes with yet another Ed Cobb song, "Rari." This is a memorable song propelled by a swirling organ line, a forceful lead vocal from Dodd and compelling background vocals. It features a terrific raga-like instrumental break. The song gives the album a strong finish. This is the Standell's best album and one of the best garage band-style albums of the 1960s. If it had a few more strong originals instead of familiar covers, it would have been among the best albums of 1966. I still love it though and it has been one of my most treasured albums for more than 30 years. Rest in peace Dick Dodd and thank you for your terrific music. I just wish there was more of it. He and the Standells deserved a better career. Recommended to people who think that Paul Revere and the Raiders and the Monkees were more important than Hall and Oates (yeah I'm looking at you, Rock and Roll Hall of Fame voter bozos.)
Riot On Sunset Strip
Original Soundtrack
Tower T 5065
1967
This album is popular with collectors because of the songs by the Standells and the Chocolate Watch Band. There is no doubt that they have the best songs on here but the rest of the record is not without interest. The album opens with the great title song by the Standells which they also perform (or lip synch anyway) in the movie. It is one of their best songs and also appeared on their album "Try It." It is driven by a killer guitar riff and a relentless beat. The lyrics describe the titular riots and are full of teenage angst and alienation. Great stuff. It is followed by "Sunset Sally" by the Mugwumps which is a different group than the one Cass Elliott was in prior to joining the Mamas and the Papas. It is an old timey, variety show type tune akin to the Sopwith Camel or Jim Kweskin and the Jug Band. It's not really my cup of tea. Next up is "The Sunset Theme" which is a surf-rock style instrumental by the Sidewalk Sounds, a studio band Mike Curb assembled that also performed for the film "The Wild Racers." It is generic but at least it rocks. "Old Country" by Debra Travis comes next. She is listed in the movie credits as Deborah Travis, I'm not sure which spelling is correct. As far as I know this is the only song she ever recorded. It is a pretty folk song with just her vocal and an acoustic guitar. The side ends with the best song on the album, the Chocolate Watch Band's "Don't Need Your Lovin'" which the band performs in the film. It is the highlight of the film for me. You hear stories about how great they were live and even if they are only lip-synching the segment, you can still perceive how charismatic front man Dave Aguilar was and how cool the rest of the band members were. The song is a ferocious rocker that reminds me of the Rolling Stones. Aguilar's urgent, passionate vocal and the howling guitars make this a garage classic. Side two opens with "Children in the Night" by Mom's Boys, the Paul Wibier fronted group that is generally believed to be the band that performed as Max Frost and the Troopers for the film "Wild in the Streets" and the album "Shape of Things To Come." It is an atmospheric folk-rock tune with a solid rocking beat. It is the best tune on the album not by the Chocolate Watch Band or the Standells. Wibier's high quavery vocal reminds me of Arthur Lee. The Sidewalk Sounds reappear with "Make the Music Pretty" which is a sugary tune in a sunshine pop style. It is too sappy for my taste. The Standells make their second appearance with the folk-rock style "Get Away From Here." They are also seen in the movie doing some of this song. It is a bit of a departure from their normal sound, it is very melodic and moody, I really like it. Some guy named Drew delivers a song called "Like My Baby" which is shamelessly lifted from the Byrds' version of Dylan's "Spanish Harlem Incident" on "Mr. Tambourine Man." The album concludes with the Chocolate Watch Band doing "Sitting There Standing" which they also perform in the movie. The song is a rip-off of the Yardbirds' "The Nazz are Blue" from their "Yardbirds" album (which itself was a rip-off of Elmore James' "Dust My Broom,) but it is so smoking hot that I'm not complaining. The group plays the song full throttle with lots of sizzling guitar work. It ends the album with a bang. I like this album but I have to admit that this is a pretty skimpy record that doesn't even have all the best music from the film. I particularly miss the Enemys' performance of "Jolene" an excellent garage rocker which they perform in the film. As far as I'm aware, it never appeared on record and it would have been one of the highlights of the album. I think the band was contracted to MGM so presumably Tower was too cheap to license the song from them. I would also have included the psychedelic soundtrack music used for the acid trip scene. It is kind of cheesy but it sure beats the Sidewalk Sounds. Despite its shortcomings, I think the album is worthwhile. You get 4 classics by the Standells and the Chocolate Watch Band, three of which never appeared on their original albums, plus a solid contribution from Mom's Boys. I dig "Old Country" too even though it doesn't fit in very well with the other songs. The rest of the music is forgettable but not unpleasant. 6 good songs out of 10 is a pretty decent ratio for a mid-1960s album, especially a soundtrack. Recommended to garageheads who hate CDs.
Why Pick On Me - Sometimes Good Guys Don't Wear White
The Standells
Tower T 5004
1966
I discovered the Standells via my purchase of the "Nuggets" vinyl comp when I was in high school. Their version of "Dirty Water" on that album was one of my favorite tracks. I'm the happy owner of the three proper studio albums they cut for Tower (I don't count the one of cover songs although I have that too.) I have to admit that all three are far from essential although each of them contains some essential music, especially if you dig garage bands. That's my convoluted way of saying most people should just pick up a Standells comp. Nonetheless if you are adventurous enough to seek this out, you will probably find stuff you like on it. I consider the two title songs to be among the best tracks the band ever did. Both songs were written by the album's producer Ed Cobb (who also wrote "Dirty Water") and were released as singles. Neither cracked the top 40 but they are better than a lot of songs that did in 1966. "Why Pick On Me" has a slightly Middle Eastern feel in its verses but the choruses are pure soaring garage. "Sometimes Good Guys Don't Wear White" is a rollicking song with a chugging riff and a driving beat sure to get your head bopping. The band's drummer, Dick Dodd, delivers the lyrics with a sneer as he defends his humble background against his girlfriend's parents' upper class prejudices. It is a classic song with a powerful rebellious edge. Nothing else on the album is as good as the two singles although there are some worthy songs. My favorite is Larry Tamblyn's "Mr. Nobody" which attacks a guy trying to make a move on his girl friend. With its fuzz guitar riffs and edgy vocal, garage buffs should eat it up. Tamblyn also contributes "The Girl and The Moon" which is a romantic pop song. It doesn't rock but I like the swelling chorus that reminds me of the Turtles. Glenn Houle's "Black Hearted Woman" is gritty and bluesy with stinging guitar lines. "Mainline" is slightly bubble-gummy but the band goes after it with a hard rock attack that makes it worthwhile. The rest of the album is mostly forgettable. The covers of "Paint It Black" and "My Little Red Book" are faithful to the versions by the Rolling Stones and Love, almost to the point of slavish imitation, they are competent but pointless. "Have You Ever Spent The Night In Jail" proves that Ed Cobb was merely human and not some garage band god. It is a dreary folk-style song that ends the album on a down note. Guitarist Tony Valentino's "Mi Hai Fatto Innamorare" is the oddest song on the album, about as unlikely a track as you will ever find on a garage band style album. It is sung by Valentino in Italian and is driven by a mandolin and some cheesy organ riffs over a rock and roll beat. I have no idea why it is on the record, perhaps as a novelty song or maybe Valentino (who was born and raised in Italy) was trying to impress his parents or something. This is a very inconsistent album, but by the standards of 1966 six good cuts on an album is above average. I don't consider the Standells a garage band, but they produced enough classic garage-style tunes that I consider them fellow travelers. However they are better than most of the bands that you will hear on "Pebbles" or "Nuggets" type comps largely because of the quality of the songwriting and because these guys could really play. Recommended for people who think Paul Revere and The Raiders ought to be in the Rock and Roll Hall of Fame (I think the Standells belong there too.)
The Standells in Person at P. J.s
The Standells
Liberty LRP-3384
1964
"Live" and Out of Sight
The Standells
Sunset SUM-1136
1966
Many years ago I bought "'Live' and Out of Sight" not realizing it was a reissue of the 1964 Liberty album "The Standells In Person at P.J.s." I was miffed when I found out but not so much that I made a big effort to get the original. It kept bugging me though because I'm a silly collector so when I finally found a nice copy at a bargain price, I bought it. The records are not identical. The original has better cover art and superior liner notes. The reissue drops two tracks from side one of the original album, "You Can't Do That" and "What Have I Got Of My Own," and substitutes the early Standells singles "Peppermint Beatle" and "Shake." It also radically alters the running order of the songs which I don't approve of at all. However I like having the singles so I keep both versions. The Standells were arguably the greatest of all 1960s garage bands although I'm not really sure the term is accurately applied to them. Sure they sound like a garage band, but they were hardly a bunch of teenage punks making a ruckus on stage at the school dance. These guys were professional musicians with considerable ability and talent, they were no more a garage band than the Byrds were. I'm referring primarily to their classic recordings on the Tower Records label. On this record, they sound pretty much like an ordinary garage band. The live tracks consist entirely of covers, all competently performed with lots of energy. If I was watching them at P.J.'s I'd be completely satisfied, they have a good beat and you can dance to them. It sounds like a really fun concert. On a record though, I expect something more original than this. If nothing else they do have excellent taste in covers. My favorite cut is the high energy cover of Ray Sharpe's "Linda Lu" which shreds the original. Not far behind is their speeded up version of Jimmy Reed's "Help Yourself" which really cooks. I particularly dig the ferocious electric organ playing that drives this cut. I also like their versions of Jessie Hill's "Ooh Poo Pah Doo," the Fiestas' "So Fine," Larry Williams' "Bony Maronie" and James Brown's "I'll Go Crazy." Their versions aren't particularly distinctive but they are propulsive and fun. "Louie Louie" and "Money" exist in so many other better versions that they are essentially useless. I enjoy their covers of the Beatles' "You Can't Do That" and Trini Lopez's "What Have I Got Of My Own" but they don't really add anything to the original versions. Dropping them for the two singles makes the reissue a slightly better record than the original. Both singles are credited to Larry Tamblyn. "Stand" features original drummer Gary Leeds who would later join the Walker Brothers and change his name to Gary Walker. The song is simple and somewhat derivative of the Isley Brothers' "Shout" but it is fast paced and very enjoyable. "Peppermint Beatle" is a little more sophisticated musically but features equally silly lyrics. In case you were wondering the Peppermint Beatle is a dance, not a food. I don't play either version of this album very much but when I do, it does make me hop and wiggle around. If you plan on throwing a toga party any time soon, this might make a nice soundtrack for it. Recommended for fans of the Kingsmen.
