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Flamin’ Groovies – ´Now’/‘Jumpin’ In The Night’ (MVD Entertainments)

Flamin’ Groovies – ´Now’/‘Jumpin’ In The Night’ (MVD Entertainments)

Reissued on CD by MVD on 10th July and 7th August respectively

 

 

Finally, I can get my mitts on a decent quality cd of The Flamin’ Groovies’ ‘Now’ album. While they never recaptured the heights of ‘Shake Some Action’ (though 2017’s ‘Fantastic Plastic’ is a fine attempt), ‘Now’ is still worthy of a place in your collection. In common with Dr Feelgood, they clearly had problems in writing enough songs, so both albums are half-filled with cover versions. Some work better than the originals, some not so much.

 

Starting with their major influence, The Byrds, ‘Feel A Whole Lot Better’ is the sound of a band playing a song they love. It doesn’t need changing, so they didn’t. ‘Between The Lines’ showed that they could still find their chops. It has that undefinable something. ‘Ups And Downs’ is a cheesy, upbeat tune, but they make it sound fun. Cliff’s ‘Move It’ was always going to be a great choice, and I still love it.

 

‘Take Me Back’ is one of two classic Groovies songs on here. Wistful and beautiful, with that perfect jangle of guitars. Dave Edmunds’ production got the best out of the songs. ‘Don’t Put Me On’ is the second; almost on a par with ‘Shake..’, it could only be the Groovies. It’s hard to explain to anyone who is unfamiliar with them just why their best songs are so great, iconic even. If you’ve tried writing songs, you’ll know that there is magic here.

 

‘All I Wanted’ is another good, original song, very Beatley, unsurprisingly. ‘Good Laugh Mun’ and ‘Yeah, My Baby’ were co-written with Edmunds, who understood their sound perfectly. Two Stones songs in a row is a tad ambitious; ‘Blue Turns To Grey’ suits them better than ‘paint It Black’, and the album ends on a perfunctory ‘There’s A Place’.

 

A year later, and ‘Jumpin’ In The Night’ starts well with the title track. It drives along nicely, and reflects their live sound. ‘Next One Crying’ is a Stones-style original, while ‘First Plane Home’ is back in Byrds territory. ‘In The USA’ is a straight ahead Chuck Berry fest, while James Burton’s ‘Down, Down, Down’ is not the strongest choice of song. ‘Yes I Am’ is a better original, as is ‘Tell Me Again’. ‘Please, Please Me’ is the obligatory Beatles cover, though ‘Werewolves Of London’ is weirdly very good, better than the original. McGuinn’s ‘It Won’t Be Wrong’ and ‘5D’ work well, but I could do without ‘Absolutely Sweet Marie’ and David Crosby’s ‘Lady Friend’. The overall sound is too light, and it runs out of gas halfway through.

 

The best of each would make a good album, but for me, ‘Now’ has the sound and personality of the Groovies.

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Author: Martin Chamarette

 

 

 

 

 

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Richard Davies & The Dissidents release lockdown video

Richard Davies & The Dissidents release lockdown video
Unfazed by lockdown, West Country rockers Richard Davies & The Dissidents have just unveiled a video for their debut single ‘21st Century Man’, which features each of the band in self-isolation in their own homes.

The track is taken from the band’s long-awaited debut album ‘Human Traffic’, recorded over a period of two-and-a-half years and now finally being released by Bucketfull Of Brains Records through Proper.

“’21st Century Man’ is about confronting change,” says Davies about the single. “It’s a song about how the eras in our lives fold into each other and how we relate to the modern world – might as well get blazed!”

A member of 90s Camden indie rockers Tiny Monroe, Davies had a whirlwind ride on support tours with The Pretenders, Radiohead and Suede, and playing Glastonbury, Reading and T in the Park festivals, as well as lending his chops to Peter Perrett and Glen Matlock, before forming alt.country darlings The Snakes in the noughties.

With a sound already described as ‘Johnny Thunders meets Tom Petty’, with nods toward Mott, Malin and Mink DeVille, this supergroup of sorts also features drummer Chris Cannon, of Hampshire DIY legends Mega City Four, bassist Tim Emery from Last Great Dreamers, guitarist Nick Beere and keyboardist Neil Scully.

‘21st Century Man’ is available now from Spotify, Amazon and all the usual digital platforms.

Human Traffic is out on 12 June and is available to pre-order: Here

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Lacertilia- ‘Calling the Quarters’ (Proper Tidy Records)

Lacertilia- ‘Calling the Quarters’ (Proper Tidy Records)

It’s strange times at the moment, who would have thought at the beginning of 2020 live music would become a thing of the past!!!! We’d be strapped in for the long haul and unable to meet up with friends or our music loving family. But in fairness what a time to be opening our ears and exploring new kinds of sounds, different genres and pushing our normal comfort zones just that little bit further, while trying to support the musicians trying to scrape by.

 

Riding in on the back of that introduction come Lacertilla, hailing from Cardiff , “Lacertilia are a  quintet that forge psychedelia, space rock, stoner metal and proto-punk into a compelling heavy rock sound”, that could have been Pity my Brain’s main man Jamie Richards talking because he’s the guy that first introduced me to this huge sound, harkening back to the primal gloom of early Sabbath, the energy of the Stooges, swirling around a Hawkwind led Psychedelic storm while also feeding off the beast that is Monster Magnet.

 

Since their inception in 2013, Lacertilia have toured the UK and Europe extensively, sharing the stage with Karma To Burn, Hawklords, Orange Goblin, Elder, Honky and countless others. Their wild and energetic stage shows have established them as firm favourites on the underground rock scene, securing them performances at Hellfest, Bearded Theory and Freak Valley.

 

Lacertilia have released 2 EPs and 1 LP so far, their heady sound best captured on their debut album ‘We’re Already Inside Your Mind’ which was released in 2016.

 

This is their second album ‘Calling The Quarters’ which was recorded early 2019 at the legendary Foel Studios home to amongst others Hawkwind, Ozric Tentacles, Napalm Death, and Electric Wizard buried in the depths of Mid Wales.

So what does it sound like? Opener “Cloak and Dagger” emerges from the speakers with the vocals hitting somewhere at a midpoint behind early primetime Ozzy and monster magnets Dave Wyndorf , the bass taking on lead duties after you’ve been battered by heavily distorted guitar, before that guitar steals back in on a sea of psychedelic swirls, I’m really liking this!!!! Heavy distorted Psychedelia rules.

 

Next up “Labyrinth” almost pushes you back into the chair, heading deep into Alice in Chains territory, before heading  back on that heavy psychedelic trip, taking you into all sorts of places both heavy and intense, but you do get the feel the band are just building up momentum.

 

The picked acoustic sound leading you into “Further” hints at another welsh band, The Dead Shed Jokers, before those thoughts are torn away , and as your face melts with the heaviest track so far, the native Indian chanting loosely connects you to much earlier influences, invoking bith shamanism and the Doors in equal measures.

 

“Procession of Lost Souls” takes the almost shamanistic vision to a natural conclusion, giving a calm before the storm that is “At the edge of Utopia” which lifts the whole LP and hits a whole new level, this is seriously the way all psychedelic rock should sound and I think for yours truly stands out, really invoking the spirit of the Stooges.

 

“Inside the circle”, follows on keeping the sound heavy and intense, before we are led by the almost Tribal drums into “Feral” amid chants of Lacertilla, I’m sure this would provide a great intro prior to the band coming on stage, then we’re into another cracker “So Mote it be” again harkening back to the past, invoking the spirit of Sabbath, but the right way to finish off, what is a pretty spectacular LP. Go on Test yourself push your boundaries, but more importantly give these guys a listen, they’re going places.

Buy The Album Here

Author: Nev Brooks

Rainy Days & Mondays

Rainy Days & Mondays

C’mon folks cheer up its only week 752 of Lockdown but worry not here are a few bangers for you to enjoy.  First up is the awesome Wyldlife with their brand new video for ‘Kiss And Tell’ taken from the wicked Cool Records Album ‘Year Of The Snake‘ enjoy!

Next is the awesome Duncan Reid & The Big Heads with the lockdown video for ‘To Live Or Live Not’ taken from their most excellent ‘Don’t Blame Yourself‘ Album

Finally bringing up the rear is the awesome Death By Unga Bunga with their first new track ‘Not Like The Others’.

Ditz – ‘Five Songs’ (Alcopop! Records)

Ditz – ‘Five Songs’ (Alcopop! Records)

Think post-punk think Joy Division, think a band who loves making a fuckin’ racket, barking like a dog and general anti-social antics like Pavement jarring rhythms riffing on Queen Zee songs.  Think Idles think Slaves think Wonk Unit think Queen Zee for sure It’s out there but just a little further.  Oh and of course Steve Lamacq loves em.

The collection will be the band’s first physical record and includes new single ‘Role Model’, as well as previously-released singles ‘Seeking Arrangement’ (Permanent Creeps), ‘Gayboy’ and ‘Total 90’, plus their limited edition cover of Peaches hit single ‘Fuck The Pain Away’, previously only released on a decomposing peach. Put that in your promotional ideas pipe and smoke it…

The quintet have released music irregularly, starting with a three-track EP in 2016 and then following on with a series of singles beginning in 2018. After the release of the EP, the band played constantly in their hometown and in London, honing their craft and growing together as a unit, waiting almost two years before hitting the studio again to record their follow-up, ‘Seeking Arrangement’.

DITZ released their single ‘Total 90’ at the tail-end of 2019 (the first for new label Alcopop! Records) picking up plays from BBC Radio One, The video for the track—which sees the band face off against a team consisting of members of friends from Slaves and FUR—was made to highlight discrimination and inequality within football. It was shot at The Dripping Pan, official ground for Lewes F.C. since 1885, and sees the band wearing Altrincham F.C.’s Football vs Homophobia rainbow coloured kit. They were also illustrated especially for the single release by badly-drawn sticker duo Panini Cheapskates. So whilst they might not have been prolific in recent years they are making up for it at the moment and might well ride this wave of enthusiasm from the likes of the Beeb.

The thumping bass throb is incredibly primal and on tracks like ‘Gayboy’ it hits you right in the chest and those guitar chords sound like riding a fuckin monster that’s awoken from a particularly nasty nightmare. They’d have fitted in nicely with the 90’s nomeansno and the Fugazi crowd who must have also been an influence?

‘Role Model’ is like a false intro before the huge avalanche of noise which is fleeting which only leaves that Peaches cover which I might add is nailed within an inch of its life. They should go on tour post-pandemic with Cabbage I think I’d enjoy that one.  check em out, kids that’ll piss off anyone who lives within 200 feet of your stereo no joke.

Website Label Page Here

 

POP CULTURE SCHLOCK at RPM: Exhibit K – KISS and Howard The Duck

POP CULTURE SCHLOCK at RPM: Exhibit K – KISS and Howard The Duck
Good to see ya again, RPM-people! Could there be a better time to sit and read retro articles on badass music websites? A better time to visit auction sites, PayPal account set to stun, searching for those “essentials” that you’ve just been reading about and simply MUST HAVE? Of course not.
For the eleventh of my PCS columns for RPM I have returned to finger the longboxes in the Schlock archive, searching for a couple of classic Seventies comics with a punk rock attitude and a hard rock guest appearance, all aimed to tie-in with the recent merchandise collaboration between KISS, the hottest band in the world, and Marvel Entertainment… and that’s where Howard The Duck comes in. But let’s backtrack a little… You may know Howard The Duck from the critically-mauled motion picture that was released in 1986. Yes, the feature film released in certain territories as Howard: A New Breed Of Hero. Yes, the flop flick that showed us that everything George Lucas touched DIDN’T turn to gold (dice) before we’d even heard of Mannequin Skywalker and Jar Jar Binks. You may know Howard The Duck from the modern Marvel cinematic universe: that post-credit scene in Guardians Of The Galaxy (and a cameo in its sequel); a quack-and-you’ll-miss-it appearance in Avengers: Endgame. For us cool kids, however, it was all about the comic books.
Howard The Duck made his debut on spinner racks in 1973 in issue 19 of Adventure Into Fear. Created by writer Steve Gerber and artist Val Mayerik, the duck, plucked from his home world and dropped into the Florida everglades, was originally intended to be just a secondary character (alongside the likes of Korrek The Barbarian and Dakihm The Wizard) in that comic’s Man-Thing strip. Within a few short years, though, and via his own back-up strip in issues 4 and 5 of Giant-Size Man-Thing in 1975, Howard would have his own comic book.
Running for 31 issues, Howard The Duck (the comic) found Marvel at its most subversive: social satire wrapped up in pages headlined by a creature deemed so similar in appearance to Walt Disney’s Donald Duck that complaints were inevitably made. Steve Gerber, surely one of the most expansive of writing minds at Marvel in the 1970s, railed against US politics by having Howard run for President in a storyline that tied-in with the 1976 presidential campaign, then in the infamous Howard The Duck issue 16 railed against his employer’s deadlines with the biting ‘Zen and The Art Of Comic Book Writing’ “rant”. But where does KISS come into all this, I hear you exclaim?
In 1977, Marvel released the first of its Super Specials. It featured rock superstars KISS, then wilfully teetering on the brink of total commercial success, battling against Doctor Doom and Mephisto. The red ink infamously contained the blood of Paul Stanley, Ace Frehley, Peter Criss, and Gene Simmons (not all of it, of course), and the story was written by… wait for it… Steve Gerber. Now, if only the writer had an ongoing monthly title where Marvel could covertly publicise the upcoming KISS comic book…
Howard The Duck’s presidential campaign failed in somewhat spectacular fashion. A fake sex scandal saw the duck fall from the cusp of political success to the depths of nervous breakdown. So bad was his fall that he found himself (in issue 12 of his monthly title, cover-dated May 1977), in a tale entitled ‘Mind-Mush!’, held in the Sauerbraten County Mental Facility. Winda Wester, a new supporting character introduced in the previous issue who spoke with a speech impediment that surely meant that her real name was ‘Linda Lester’, was possessed. Who could
feature in the “swirling, seething, savage nightmare rising in billows from Winda’s skull” on the final page of issue 12? You’ve guessed it… KISS!
“Aw-riiight! Sauerbraten County, Ohio – let this old cosmos… Rock, Roll Over, and Writhe!” yells the Starchild on the opening page of issue 13. Freezing security guards with a wild eye laser that would later be utilised in the classic KISS meets the Phantom of the Park (aka Attack of the Phantoms) television movie par excellence, the Starchild then passed the mic to the Catman who told Howard “The Word”. The Word? “When you meet reality head-on – Kiss it, smack it in the face!” More than one word, really, eh? “And then, with one awful WHOOSH, they were drawn back into Winda’s brain.” Five pages, thirteen panels, and that was KISS done with Howard The Duck. Daimon Hellstrom would turn up at the facility, Howard become a duck possessed himself, but that’s another story for another time.
Those five pages, though, as blatant an advert for the upcoming Super Special that they were, worked a treat. Okay, they weren’t the only thing pointing fans in the direction of issue 1 of the Marvel Comics Super Special – KISS was every-frigging-where – but they must have added to the swell of attention towards that blood-inked comic book that would go on to sell around half a million copies over two printings.
KISS would return to the pages of Marvel in issue 5 of Marvel Comics Super Special in 1978 in an occult adventure and, in the Nineties to tie-in with the reunion tour by the original band members, would later meet the X-Men in the KISSnation publication. The band has since met Archie, the Martians from Mars Attacks, Vampirella, and had ongoing titles published by IDW, Dynamite, Dark Horse, and Image Comics. There was even a 2013 comic series entitled KISS Kids which should not be interpreted as a command.
For all those comic book appearances, however, the first ones that you need in your collection are the two Marvel Super Specials and issues 12 and 13 of Howard The Duck. Why? Because, if you’re a child of the ’70s, or simply long to have been one, then there is little cooler than your favourite larger-than-life rock band, alongside a wise-cracking duck, in a Marvel Comic. ‘Nuff said.
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Hands off Gretel release ‘Quarantine Edition’ fan zine to support anti-bullying charity ‘Ditch the Label’

Hands off Gretel release ‘Quarantine Edition’ fan zine to support anti-bullying charity ‘Ditch the Label’

South Yorkshire band, Hands Off Gretel, have released a 48-page full colour zine, which includes over 70 pieces of individual fan art. The zine will help raise funds for Brighton based anti-bullying charity ‘Ditch the Label’, which was chosen by band front woman Lauren Tate, who recently spoke out about the impact of years of bullying and online harassment.

The fan artwork that features in the zine was invited by the band as part of their ‘Lock down’ activities to keep fans engaged, as tour plans were cancelled due to COVID-19 . The band received over 70 submissions of fan art and prompted Lauren to create the fan zine.

‘We just couldn’t believe the standard of the artwork that came flooding in. I decided that we had to create something really special, so that we could truly celebrate all of the artwork together and I came up with the idea of a Fan Zine, The ‘quarantine Edition’ ‘

While Lauren set about narrating the zine she was subjected to yet another hateful public attack online, something that has been ongoing for 5 years. The perpetrator posting false personal allegations online and messaging other bands, fans, promoters and music journalists, hiding behind fake profiles to try and sabotage Laurens character.

‘On the one hand I was dealing with such amazing positivity from our fans receiving these wonderful art creations, at the same time as battling this hatred online. I had felt so powerless that someone was actively using the Internet to spread hate about me.

Everyone tells you its ‘Normal’, ‘just ignore it’, ‘haters gonna hate’, but unless you have been through it, you have no idea how much it messes with your head.

Receiving the artwork from all around the world really helped me so much during this time and the sheer positivity of this just gave me the confidence and the courage to finally speak out.

Creating the zine to raise awareness of the impact of bullying and supporting the anti-bullying charity ’Ditch the Label’ just seemed like the obvious thing to do, turning this into something really positive and doing my bit to help others going through the same thing.’

The lock down has led to a huge increase in bullying, harassment and online abuse. The bands chosen Charity, ‘Ditch the Label’, has seen a 158% increase in contact with their charity during the lock down. Each week, thousands of people benefit from the charity’s resources and digital one-to-one support. They have a team of digital mentors who are trained to help young people navigate through issues related to bullying, such as improving mental health, body image, coming out and building confidence and self-esteem.

‘Ditch the Label are delighted to be involved in the Hands Off Gretel fanzine, which will not only raise awareness of the prevalence and impacts of bullying and abusive behaviours, but will also raise vital funds. These funds directly help us keep our support services running – thank you so much on behalf of those we support.’ Sue Jones CEO Ditch The Label

 

The 48 page fan zine ‘Quarantine Edition’ which includes all the art submissions and personal accounts from the band around issues of bullying and self confidence is on sale on the bands website and will also be sold at the live gigs (when they resume) £5 from every zine sold will be donated to the charity ‘Ditch The label’.

Shop Here

https://www.ditchthelabel.org

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‘Uncle Brian’s Abattoir’ video by Jack Jones & Peter Doherty

‘Uncle Brian’s Abattoir’ video by Jack Jones & Peter Doherty

TRAMPOLENE & PETER DOHERTY are making available a new track, ‘Uncle Brian’s Abattoir,’ written and recorded during the Corona Virus Lockdown in Swansea, London  & Normandy. Jack Jones from Trampolene recorded his spoken word piece on his phone in Swansea and wired it to producer Mike Moore in London who added the music and then forwarded it to Peter Doherty in Normandy who put his vocals down on his phone and emailed it back to Mike Moore, who put it all together. ‘Uncle Brian’s Abattoir’ is released via Strap Originals/Cargo Records and is available now to stream or buy from: Here

Trampolene singer Jack Jones: “Uncle Brian’s Abattoir came about when I was picking up my little cousin from an after school art class…she had painted a paradise where animals and humans lived in harmony but mistakenly called it an Abattoir…I found the whole thing very charming and jotted it down in my notes…So it’s about an abattoir…but not as you know it…it’s taken straight out of a child’s imagination. It has taken on another meaning for me lately as it is also about slowly going mad being stuck indoors during the Lockdown”
Producer, multi instrumentalist and guitarist with Liam Gallagher, Mike Moore says of the recording:  “it’s a bit like that kids’ drawing game where someone draws the head, folds the paper and passes it on.Someone else draws the body and so on. Then the reveal is the surprise to everyone involved.”
The video was edited together from footage shot on phones in The Mumbles (Jack’s home) and Etretat (Peter’s Lockdown home) by Katia de Vidas (The Puta Madres). The Artwork was painted during the Lockdown) by Trampolene bass player Wayne Thomas, who also makes a cameo appearance in the video swinging from a tree.

The Dirty Truckers – ‘Second Dose’ (Rum Bar Records)

The Dirty Truckers – ‘Second Dose’ (Rum Bar Records)

When you read the names like Tom Baker and Tad Overbaugh and they’re on a record released on Rum Bar Records you know it’s going to be something special and most likely kick some serious Rock and Roll rear end.  The Dirty Truckers paints a picture of a dusty parking lot with beer and a dimply lit bar room where a band is knocking out some sweet sweet music – loudly!  Enter The Dirty Truckers – from the first flurry of overdriven chords on ‘Little Mine’ you know what’s coming down.  ITs straight unfussy rock and roll following a long linage of bands and artists from all over the globe who just kicked it from the Keith Richards overdriven chord book.

It reminds me of Georgia Satellites and Izzy Stradlin and his ju ju hounds with a bit of Kevin Kinney thrown in for good measure. It’s ten tracks long and the songwriting standard is excellent.  Fire up the BBQ and open all the windows get the beer on ice and let’s get this good time happening.

 

there are familiar riffs here and there from the Belter ‘Help You Ann’ that has a hint of The Hives thrown in for good measure and that’s always gonna be a good point to prick up the ears. I hate to say I told you so but The Dirty Truckers just kick it.  Throwing in some big fat sweeping acoustic guitars for good measure on ‘Back To Back’ it adds a different flavour to the pot whilst maintaining the high standards.  Throw into the mix a couple of choice covers like the awesome ‘Sixteen Blue’ by Paul Westerberg and to top off this great record is the Nick Lowe ‘Raging Eyes’ and a great tip of the hat to two clear and big influences on Tom and his direction in this business.

 

If you want a good time and are looking for songs to pick you up and make you feel good then look no further your journey has reached its destination – hop on board and let the Dirty Truckers take you for a ride it’ll Rock and Roll.

Buy ‘Second Dose’ Here

Author: Dom Daley

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FLAMIN’ GROOVIES To Reissue albums – ‘Now & ‘Jumpin’ The Night

FLAMIN’ GROOVIES To Reissue albums – ‘Now & ‘Jumpin’ The Night
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
The Flamin’ Groovies played a major role in the evolution of power pop and are considered a forerunner of punk rock. This summer they will reissue two classic albums: “Now” on July 10th and “Jumpin’ In the Night” on August 7th.
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.
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.