"Sh!t Happens"

All-New material from Art Barnes of World Famous Comedy Music duo Barnes & Barnes, creators of “Fish Heads” the #1 Most Requested song in history on the Dr. Demento Show!

 

& Barnes “Shit Happens” featuring: “Hip as a Bip,” “Guppy Stomp,” “Butter” and LOTS MORE GOOD SHIT… is available now on Vinyl, CD and Digitally, in stores and online from Demented Punk!

 

Be sure to check out the “Shit Happens” Animated Promo Video starring the voice talents of actor/musician Bill Mumy as album mascot “Joe Solid!” The animated spot, Produced and Directed by longtime Misfits & Ramones collaborator John Cafiero (of Osaka Popstar), brings to life the front, back and interior album artwork by underground comix artist Stephen Blickenstaff, best known for creating the cover art to the Cramps classic 1984 album “Bad Music for Bad People.”

 

The new release is dedicated with love to the memory of Robert “Artie Barnes” Haimer, (half of the ‘demented’ duo Barnes & Barnes), who passed away earlier this year.

 

“Shit Happens” is available on Ltd Ed Brown Vinyl with MP3 download card, or on CD in gatefold packaging as well as digitally. A Demented Punk Online Store Exclusive variant edition pressed on Brown Vinyl with Yellow Splatter, each personally autographed by Bill Mumy (aka Art Barnes) is also available, while supplies last.

For more information or to keep up with future releases, visit DementedPunk.com

Order Link: https://lnk.fuga.com/barnes_shithappens

Live From Vienna!

 Dave Brubeck Trio - Live From Vienna 1967

Brubeck Editions is thrilled to announce the release of Dave Brubeck Trio – Live From Vienna 1967, the newly discovered recording of the extraordinary evening when the iconic Dave Brubeck Quartet was forced to take the stage as a trio. This electrifying album marks the only recording of jazz luminary Dave Brubeck, celebrated drummer Joe Morello and acclaimed bassist Eugene Wright performing in a trio context. During this performance at Vienna’s famed Konzerthaus, the pared-down instrumentation proves only to exemplify the genius of Brubeck and his legendary rhythm section. This historical release will drop as a compact disc on April 15, 2022, followed by a special LP release on April 23, 2022 for Record Store Day.

The date was November 12, 1967 and the Dave Brubeck Quartet was nearing the end of their very last tour of Europe. They had played in Hamburg on November 10th, but saxophonist Paul Desmond got “distracted” after going out on the town for one last evening to explore Hamburg with an old friend. When the rest of the quartet went to the airport on the morning of November 11th, Paul was missing. He didn’t make the lobby call or the flight and the rest of the group traveled to Vienna without him. 

Grammy nominated composer and son of Dave, Chris Brubeck notes “Knowing my father, he was probably worried about Paul. However, Dave also would have suspected that Paul may have been out celebrating too hard.” Brubeck must have felt assured that Desmond would show up, as Chris indicates, “ there were later flights Paul could take to get to Vienna in time for the concerts”. But Paul never made it to Vienna, and the remaining members of the quartet were reluctantly pushed into an exciting place of spontaneous invention and exploration. As Chris notes “Dave often said that the audience was the fifth member of the Quartet. In this unique situation, the Trio played a singular and inspired set no doubt influenced by this particular concert’s fourth member of the ensemble – the Viennese audience. There was suddenly more solo space for all three musicians to explore with their inspired improvisations. These performers instinctively utilized the great sound and dynamics of this hallowed concert hall both to rattle the rafters and float gentle melodies up to the balconies.” The recording highlights the late “Senator” Eugene Wright, who sadly passed away December 30, 2020. The last surviving member of the quartet, he was always appreciated as the foundation upon which the other members of the quartet relied, but on this recording, he has more space to show off his formidable bass chops.

The trio sizzles with a ferocious energy right out of the gate with a spirited take on “St. Louis Blues”. For chorus after chorus, Brubeck offers up some of the finest examples of his signature chordal and rhythmic performing, while interspersing soulful, lyrical melodies in his right hand. About five minutes into the track during his bass solo, Gene quotes “I’m Going to Wash That Man Right Out of My Hair”, likely a joke for Brubeck and Morello referring to their missing bandmate, Desmond. The band continues with “One Moment Worth Years”, on which Brubeck and Wright’s touch can be described as charming, inventive and elegant. 

“Swanee River” features an up-tempo syncopated groove that sets up a very polyrhythmic and high-spirited interpretation of the Stephen Foster composition that the trio had previously recorded alongside Desmond on the 1959 album Gone With the Wind. Notably, Brubeck engages in some very spirited trades with drummer Joe Morello. The trio calms things down with a sweet and tender version of “La Paloma Azul”, a Mexican folk tune rearranged with an ingenious polyphonic twist that appears during the closing melodic statement. 

The crowd immediately recognizes “Someday My Prince Will Come”, and the piano leads the group on an intense romp that challenges the underlying time from the rhythm section with an elastic piano solo superimposing 3 against 2. As Chris Brubeck indicates “Dave bends the time to the near breaking point, a musical drama that an audience can really feel and follow.” The album concludes with a tune known throughout the world – “Take the A Train”.

As Chris Brubeck espouses, “I think if our dad were alive to hear this Brubeck Trio recording now, he’d be flashing his famous big smile. He would be extremely proud to hear how, more than half a century ago, he, Gene and Joe got thrown a curve ball and knocked it out of the park!”

Order Here -

https://mvd.cloud/share/sales/20220321100830.html   

Delta Rae

Celebrated Americana Ensemble

DELTA RAE "Coming Home To Carolina"

Deluxe Blu-ray + DVD + CD Set

Friday, November 20, 2020

ORDER HERE

Earthy, familial alt-pop outfit Delta Rae skillfully juggle gospel-tinged country-rock, sensual blue-eyed soul, and harmony-laden Americana, resulting in an infectious, radio-ready sound. Formed in 2009 as a four-piece around the talents of siblings Ian, Eric, and Brittany Hölljes, along with Elizabeth Hopkins, the North Carolina-based band expanded to a sextet the following year with the additions of Mike McKee and Grant Emerson. 

 

In 2011 the group inked a deal with Sire/Warner Bros. after a particularly impressive in-office audition for Seymour Stein, who was blown away by Hopkins and the Hölljes siblings' powerful voices. The resulting Carry the Fire, their major-label debut, arrived in 2012. Carry the Fire reached 11 on the U.S. Heatseekers chart and 13 on the folk chart. Delta Rae released their second album, After It All, in the spring of 2015. Following a relocation to Nashville, the band signed with Big Machine in 2017 and issued a pair of EPs - A Long and Happy Life and The Blackbird Sessions - in quick succession. The front part of 2019 saw a spate of new singles, though in July of that year, Delta Rae announced their departure from Big Machine following a massive company buyout. Choosing to go independent, they quickly launched a massively successful crowd-funding campaign for their next release, a two-part double album called The Light & the Dark. The first volume, The Light, appeared in March 2020.

 

This electrifying concert film, Coming Home To Carolina was filmed with fourteen 4K Ultra Hi Def Cameras, before hometown fans in Raleigh, North Carolina, during their final shows one week before Christmas, from their highly successful 2019 sold out “Take Me There” Tour, that features some of the band's biggest hits including “Take Me There”, “Down By The River”, “Dance In The Graveyard” interspersed with scenic performances scenes at Raleigh River. Interview segments at the band's home where they recorded most of their first album of songs, ending in a bonfire jam at the Local Watering Hole.

The Gun Club

THE GUN CLUB'S 1982 PUNK-BLUES CLASSIC "MIAMI" RETURNS WITH DELUXE DOUBLE-VINYL AND DOUBLE-CD REISSUES VIA BLIXA SOUNDS

Both the LP and CD editions come with a disc of previously unreleased demos.

Street date December 4, 2020

With a howling and unholy mix of punk rock and the blues, Jeffrey Lee Pierce and The Gun Club exploded upon the L.A. club scene in the early '80s. They recorded their debut album, 1981's Fire of Love, for the local Slash/Ruby label. But when it came time to record a follow-up, the group decamped to New York to work with producer Chris Stein of Blondie and his new label, Animal. The results were 1982's stunning Miami, an album that didn't get its proper due back in the day. Blixa Sounds will right that wrong on December 4, 2020 with deluxe reissues of the album in double-CD and double-vinyl editions.

 

Both the double-CD and double-vinyl editions will contain a digitally remastered version of the original 12-track album, as well as demos of every track. In addition, the CD version will contain a second disc jam-packed with a total of 18 previously unreleased demos, including 6 tracks exclusive to the CD release.

 

The double-vinyl version will be released as a two-LP set packaged in a gatefold cover with extensive liner notes by drummer Terry James Graham and journalist Craig Rosen, as well as rare photos and ephemera. The CD version is a two-disc set, also with liner notes, photos and ephemera.

 

While their own hometown of Los Angeles was lukewarm to The Gun Club, others, including Blondie guitarist Chris Stein, took notice. He signed the band to his fledging Animal imprint, awarded to him by Chrysalis Records for Blondie's huge commercial success.

 

With the band relocated to New York, Stein produced Miami at Blank Tape Studios in June 1982, with Deborah Harry on hand to sing backup vocals, credited under the pseudonym D.H. Laurence Jr. In a sense, it was payback, because Pierce was more than a male groupie and West Coast head of the Blondie fan club. It was Jeffrey Lee who suggested that Blondie cover The Nerves' "Hanging on the Telephone," a highlight and British hit on the band's breakthrough album, 1978's Parallel Lines.

Despite the involvement of two members of Blondie, Miami was no pop-punk concoction, but rather a further exploration of the neo-swamp blues Pierce and company had mined on the acclaimed Fire of Love, though Stein's production made Pierce's toxic musical stew a little easier to swallow.

 

As was usually the case with The Gun Club, Miami found the band in a state of flux. Ritter split after recording the basic tracks. He's credited on the album below the band's then-current members, alongside Pierce's "additional piano" and Harry's pseudonym-credited backing vocals, and The Gun Club appears as a trio on in the cover photo, with Ritter missing in action.

 

"The band was really starting to split apart," Graham confirms in the documentary Ghost on the Highway: A Portrait of Jeffrey Lee Pierce and The Gun Club."It was going to Jeff's head… Chris Stein, his friend, is producing the record and somebody is telling him, 'You don't need your band, all you need is you.'"

 

Whatever the case, Miami is a classic, from the opening "Carry Home" to the closer "Mother Earth," which Billy Idol said was key influence on his 1982 hit "White Wedding." In a TV interview, Pierce said, "I didn't see how he saw it similar in his head, really. It didn't make any sense to me, but I said, 'Fine, I guess if it inspired you to make that music, it's good.'"

 

While The Gun Club went on to influence such artists as Chris Isaak, The White Stripes and Mark Lanegan, the band also highlighted their own influences on Miami. The album includes a howling take on Creedence Clearwater Revivals' "Run Through Jungle," a revved up version of the traditional folk song "John Hardy," and a Cramps-like rendition of J.R. Reynolds' "Fire of Love," the should-have-been title track of their first album.

 

Yet Pierce's originals hold their own against covers, beginning with "Carry Home," which opens the album with Pierce singing, "Come down to the willow garden with me / Come go with me," over Graham's steadfast beats and Dotson's guitar twang. From there, Pierce takes listeners on a wild ride, through the psychobilly stomp of "Like Calling Up Thunder," the anthem-like drama of "Brother and Sister," and the charging rockabilly of "Devil in the Woods," in which Pierce goes into a full yodel. Side one closes with "Texas Serenade," featuring Rubber Rodeo's Mark Tomeo adding some atmospheric steel guitar to counter Pierce's frantic vocals.

 

The albums continues with "Watermelon Man," with Pierce sharing writing credit with Dotson, Andy Warhol associate Walter Steding adding fiddle and Stein playing the bongos on some ghostly aural voodoo that'll haunt you to your core. "Bad Indian" charges through like a locomotive, while "Sleeping in Blood City" has Pierce ranting like a madman on his 19th nervous breakdown. It all comes to a tasteful end with Tomeo's steel guitar, Ritter's throbbing bass, Dotson's guitar accents and Pierce crooning us back to "Mother Earth."

 

This special two-CD version of Miami also includes a second disc, featuring demo versions of every track on the album, plus six previously unreleased demos of material that would later turn up on The Las Vegas Story ("Walking With the Beast," "Prune Dicks From Mars," "Vampires," "Journey to Zatar," "Blue Hair" and "Pig Boys").

 

Though some have criticized Miami, Stein is still proud of the album. "I have gotten flak from Gun Club members who played on Miami for not having a 'hard rock' enough approach to the production," he says in the book From Blondie: Parallel Lives by Dick Porter and Kris Needs. "I don't recall any of them voicing concerns at the time. Jeffrey and I spend a lot of time thinking about what the record should ultimately sound like. He really wanted to get away from a standard punk rock approach and reach into the world of so-called 'normal' music by making more references to country, et cetera. Jeff was the one who brought in a pedal steel guitar player. I know for sure he liked the record."

 

And Gun Club biographer Ryan Leach maintains the album is even stronger than Fire of Love. "I think Jeffrey's lyric writing had progressed in that year or so," Leach says in Ghost on the Highway: A Portrait of Jeffrey Lee Pierce and The Gun Club. "There are also a lot of harmonies on that record that Fire of Love never dreamed of."

  

Amazon Pre-Order Link: http://bit.ly/gcmm2020

Have A Good Time (But Get Out Alive)

“Few bands offered up material as gritty, rich, and poignant as Pittsburgh’s own The Iron City Houserockers. … [An] epic musical milestone. … Given the current world pandemic, there’s a modern-day relevance to the message of the title track and the album itself. Get Out Alive! has always been a record of hope, home, solidarity, community, strength, and love - themes that are as important today as they were 40 years ago. 5 STARS”

- Goldmine

The physical edition of the greatly expanded 40^th anniversary deluxe reissue of Have a Good Time (But Get Out Alive), the sophomore album originally hailed by Rolling Stone as “a new American classic” from beloved Pittsburgh rocker Joe Grushecky and his gritty, blue-collar outfit the Iron City Houserockers, arrives TODAY (June 19) on CD and vinyl amid a mounting new groundswell of attention.

A holy trinity of rock and roll royalty united to help oversee the recording, as Mick Ronson (David Bowie), Ian Hunter (Mott The Hoople) and Steven Van Zandt (Bruce Springsteen, Southside Johnny) combined with co-producers the Slimmer Twins (Steve Popovich Sr. & Marty Mooney) and the Iron City Houserockers to create one of rock’s great lost classics. Their cohesive efforts − as producers, arrangers and players − will finally be rediscovered as an entirely new listening experience on CD and vinyl when Have a Good Time (But Get Out Alive) is released by fabled indie label, Cleveland International Records. The remastered two-CD set includes a bonus disc with 16 previously unreleased tracks of demos and other rarities. The new vinyl edition will include a download card of those same 16 tracks to go with a vinyl replica of the original album. The digital package is on sale NOW and streaming here. Order the vinyl and physical CD here. Order the exclusive Iron City Houserockers Bundle Pack at www.clevelandinternational.com.

The presence of Hunter, Ronson and Van Zandt, says the Houston Press, sets “this project apart,” and “gives the whole record a sort of Pittsburgh/New Jersey/London amalgamation vibe.” MediaNews Group called this chapter in Grushecky’s four-decade career “one of his shining moments.”

Little Steven’s Underground Garage celebrated Digital Release Day with a “Coolest Conversations” album spotlight, as Grushecky spoke with the Mighty Manfred on Sirius XM. Ultimate Classic Rock hosted an exclusive Track Premiere of the bonus disc demo version of “Hypnotized (A Work in Progress),” featuring Hunter and Ronson, and called the new release “cool stuff.”

Iron City Houserockers

American Songwriter, in an interview with Grushecky, hails Have A Good Time (But Get Out Alive) as “a forgotten gem of a record, a time capsule of frenetic ‘80s energy and lyrics about home that hit home, performed by the toughest, tightest band from the ‘work hard, play hard’ working-class streets of Pittsburgh." The magazine adds that the bonus disc not only “documents each song's evolution,” but “showcases how Grushecky and the band took it up a notch when the 'record' button was pressed."

Goldmine, in a new five-star review, proclaims the album an “epic musical milestone,” and placed it in the context of the current world pandemic, noting the how “few bands offered up material as gritty, rich, and poignant as Pittsburgh’s own The Iron City Houserockers” and the “modern-day relevance to the message of the title track and the album itself. Get Out Alive! has always been a record of hope, home, solidarity, community, strength, and love - themes that are as important today as they were 40 years ago.”

Adds Midwest Record: “Anyone that wants to rock will salute this. Amazingly heady still after 40 years of sitting in limbo, waiting for the sky to fall.”

Forty years since The Iron City Houserockers’ willingness to let Ronson, Hunter and Van Zandt reshape their initial ideas in the studio proved prophetic, and the songs they recorded for the 1980 release put down roots that stretched far outside of Pittsburgh. Greil Marcus, in The Village Voice, said Have a Good Time (But Get Out Alive) was “the strongest album an American band has made this year” and “proves the Iron City Houserockers are the best hard rock band in the country.” All Music Guide marveled at the new album’s power surge, saying the band “landed with the impact of a Louisville slugger connecting with a fastball” and crediting Grushecky for songwriting and lead vocals that “seethe with a furious passion that's never less than convincing. … The total commitment of his performance, delivered with the conviction of a man fighting for his life, brings these stories to vivid, sweaty life.”

Have a Good Time (But Get Out Alive) is listed as one of the top eight Essential Heartland Rock records alongside the likes of Bob Seger's Night Moves, and John Mellencamp's Scarecrow,

and features many of the Houserockers' signature tunes, including "Pumping Iron,” "Junior's Bar," and "Have A Good Time.” During a 1981 live radio concert in Boston, rabid fans can be heard screaming requests for “Pumping Iron,” an anthem Grushecky penned as a tribute to his home city, and which he still usually plays with Bruce Springsteen when they perform together.

As Hunter fondly remembers: “Joe and the Houserockers were and are an actual rock and roll band. So many 'rock and roll' bands are not real − they just look and act like they are − and fool people most of the time. These guys are for real − and what a lovely man Joe is.”

In the liner notes, Grushecky offers a remarkably concise analysis of the record that emerged: “We had great songs and the band was smoking,” he writes. “We all knew something special was happening. The results were a mixture of Pittsburgh rock and roll, Jersey Shore savvy and soul, and English mystic and muscle. Add a dash of Cleveland moxie and an anything goes attitude and a legendary album was born.” 

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"Roxy Roller"

She Wants You!
Cherie Currie
Photo:
Jake Hays

Cherie Currie (The Runaways), Suzi Quatro & Nick Gilder  Perform "Roxy Roller" "At Home." 

Video edited by  17 year old Runaways Fan

 

  CLICK HERE  to watch & listen to "Roxy Roller" 

 Cherie Currie's new album Blvds of Splendor, produced by Matt Sorum (Guns N' Roses, Velvet Revolver) is out now and features the classic “Roxy Roller.”

For this special, one-of-a-kind “At Home”performance, 17 year old Runaways fan (Isaac Valiente) edited the video. Cherie (vocals) enlisted special quests Suzi Quatro (vocals), Nick Gilder (vocals), her son Jake Hays (rhythm guitar & backing vocals), Perry Farrell guitarist Nick Maybury and Phil Leavitt(drums) & Joie Calio(bass) of the bands Dada & 7 Horse on the standout track "Roxy Roller" (also written by Nick Gilder) - ROXY ROLLER

"With life in lockdown and the surprise release of Blvds of Splendor, the first song that came to mind for a quarantine video was "Roxy Roller."  My son Jake and I sat down in front of a camera and singing to an acoustic electric we filmed the building block of the song.  I am so lucky and blessed to have amazing musicians as friends to reach out to and all were more than giving of their time for this. I then reached out to my dear friend Suzi Quatro, then Nick Gilder who again were so giving of their time. The cherry on top was meeting Isaac Valiente on FB. He's a 17 year old self taught video editor who stole my heart with his love for music and a giant ball of humble talent. And there you have it. A great video born of love and support in a time where that’s really all that matters."

Cherie Currie

Cherie Currie
Photo:
Jake Hays

"Was asked by my good friend Cherie to be part of this. After her wonderful contribution to my documentary SUZI Q (premiering in July  in the USA), and even writing a song about me, which was the closing song of the film...... well...excuse me... did I have a choice!! I  didn't even have to learn the song because I recorded it myself in 1976. Good old Roxy, she certainly has made the rounds hasn't she!! (wink, wink)."  Suzi xx" 

"Making this video with Cherie and Suzi is especially poignant for me. I met Cherie and her twin sister Marie at my very first show in LA back in the day at the iconic Doug Weston's Troubadour.  Having Cherie cover my song "Roxy" on her fantastic new CD Blvds of Splendor is simply wonderful! It really rocks and to have Suzi who also recorded an impressive version help with this video is an absolute treat I hope you all enjoy our efforts, thanks!" Nick Gilder

Blvds of Splendor  features guest collaborations with Billy Corgan of Smashing Pumpkins, Slash and Duff from Guns N’ Roses, as well as Juliette Lewis, Brody Dalle, The Veronicas and drummer Matt Sorum. The special digital only release features three bonus tracks (including a remake of The Runaways classic “Queens of Noise” featuring Brody Dalle, The Veronicas, Juliette Lewis and Matt Sorum paying homage to late Runaways drummer Sandy West).  Album available on Blackheart Records HERE     

View the Queens of Noise Recording Session  

View Behind The Scenes

View Mr. X with Slash & Duff McKagan

View Billy Corgan & Cherie in studio 

Complete press info here: http://kenphillipsgroup.com/currie.htm

Follow Cherie Currie:

Facebook: https://www.facebook.com/cherie.currie.58

Instagram: https://www.instagram.com/cheriecurrieofficial/

Cherie Currie Official Website: cheriecurrie.com 

Learn more about Cherie and her chainsaw carving here: http://www.chainsawchick.com/about.html 

Flamin' Groovies

FLAMIN' GROOVIES To Reissue

"Now" and "Jumpin' In the Night" This Summer

The band that played a major role in the evolution of power pop and are considered a forerunner of punk rock readies two of their most popular albums

 This summer they will reissue two classic albums: "Now" on July 10th and "Jumpin' In the Night" on August 7th.

NOW (CD, July 10th)

While it took a long and torturous five years for the Flamin' Groovies to find their way back to an American record deal with Shake Some Action, a year and a half later the band had a follow-up ready, and while 1978's Flamin' Groovies Now isn't quite as cohesive as the album that preceded it, in many respects the band sounds at once tighter and more relaxed, with some time on the road firming up the rhythm section while giving the songs a bit more room to swing (which wasn't one of the strong suits of the British Invasion bands that provided their aural template). The band lost guitarist James Ferrell during the post-Shake Some Action tour, but former Charlatans picker Mike Wilhelm proved to be a more than simpatico replacement on these sessions, and while leader Cyril Jordan didn't come up with another new song as transcendent as "Shake Some Action," "All I Wanted" comes pretty close. But it's significant that most of the songs on Flamin' Groovies Now are covers, and while all of them are played with love, enthusiasm, and the right period flair (especially the Beatles' "There's a Place," Paul Revere & the Raiders' "Ups and Downs," and "Move It," an early U.K. hit for Cliff Richard), they give the album a feeling of being padded, and just because covering the Rolling Stones rarity "Blue Turns to Grey" was a good idea didn't mean the Flamin' Groovies had any business tackling "Paint It Black." All in all, Flamin' Groovies Now is a terrific-sounding record that captures a fine band when it was in great form, but it also makes clear that the gremlins that often dogged the Groovies in the studio (namely their inability to make a 100 percent satisfying album) hadn't gone away.

JUMPIN' IN THE NIGHT (CD, August 7th)

The third and last of the Flamin' Groovies late-'70s albums for Sire, Jumpin' in the Night storms out of the gate with the title song, a top-shelf rocker that brings the muscle of the Flamingo-era lineup of the Groovies to the more style-conscious British Invasion sonics of Cyril Jordan's version. Though Jumpin' in the Night never rocks that hard or that well again, it does sound decidedly tighter and tougher than 1978's Flamin' Groovies Now, and guitarist Mike Wilhelm, a new addition to the Now lineup, is much better integrated into their wall of guitars, with the Groovies sounding more solid than they did a year before. But while Jumpin' in the Night finds the Flamin' Groovies sounding better than ever, the material unfortunately lets them down. It's no wonder why the Flamin' Groovies loved the Byrds -- both were American bands who fell in love with the sounds of British rock and crafted their own variation on the style -- but three Byrds covers on this album is about two too many (especially given how clunky David Wright's drumming sounds on "5D"), and though having the Groovies tackle "Absolutely Sweet Marie" and "Please Please Me" sounds good on paper, the audible results are a bit underwhelming. (On the other hand, their cover of "Werewolves of London" is better than anyone had a right to expect.) The production and engineering by Roger Bechirian is crisp and flattering to the guitars, but lacks the resonance of Dave Edmunds' more layered approach on Shake Some Action and Now. A great band, the Flamin' Groovies often seemed to have a hard time reconciling their best qualities with the record-making process, and Jumpin' in the Night is probably the best example of this dilemma, though it has more than enough worthwhile moments to compensate.