...Reviews!!
THE
FEVERS - Love Aklways Wins LP/CD
THE
FEVERS - Gaan Daar Waar De Meisjes Zijn LP/CD
ENGLISH
SCREAMING
BLOODY MESS (JAPAN) SEP 2005 Catchier than one of them new fangled
African viruses, the FEVERS play bubblegum punk that I swear makes doing the
dishes that little bit more fun. British power pop styled and a little bit of
KINKS and a whole lot of shimmy, their second album is for all you lovers of
fun. From the opening riffs of ‘Dance’ you can get a good idea of what to expect.
“I will slow dance with you. I want to hold you tight”. The world may be a kind
of fucked up place pretty much most of the time but the Fevers are oblivious
to it. It sounds like they only get bummed when the punch has run out and the
cops have shut down the party (TS)
SMASHIN
TRANSISTORS (USA) MAY 2005 For their second album the Fever have
made an almost perfect power pop album. Way louder than the (Paul Collins) Beat
or the Paley Brothers, a bit more brash than the Starjets but a bit more smooth
(yet still rooted in the twelve bar that the Beatles learned from Chuck Berry)
than the Boys, a lot more snot than Cheap Trick, better songs than the Vapours,
the A's and scads more. The last example really proves itself true here cuz
there's a not a relience on cover tunes here (or the band decided to dig up
songs that were even more "forgotten" by the rock-n-roll fan) that
their first album had. I call this an "almost perfect power pop album"
if for no other reason than there's has never been a PERFECT power pop album
ever made. There's always some total pussy ballad (though the songs that touch
that area on this still pack a street level feel so that excludes the band from
that), a gimmicky production (though "Love Always Wins" has a nice
bright loud and natural recording job so that can't be it) or some really cheesy
Vaseline on the lens glamour shots of the band in the artwork (though the cover
design here is pretty basic-the cover photo of the band looks like it was shot
by an Instamatic with some swirls and lettering that one might see in a mural
on a high school art room wall back in the 70's). Truthfully, I haven't gone
over "Love Always Wins" with a fine tooth comb or anything but, like
their first album, I'm finding it hard to detect any flaws to keep me from declaring
this the PERFECT power pop album but if I did someone would probably drop me
a line stating something along the line that the Fevers do not want to be called
a power pop band (DM)
ODYSSEY
ZINE (USA) May 2005 I doubt
I'm capable of expressing what a goddamn treat this record is. Seriously, I
was completely blindsided by this one. That's one of the best things about being
a rock and roll dork -- that little rush of excitement you get when something
all of a sudden clicks. The Fevers deliver that feeling for me and then some.
I first gave this album a spin without much thought. I was only slightly familiar
with the Fevers, having read about their first album, but I'd never heard it.
I was at work, not really paying attention to the album at first, just barely
aware of the noise in my headphones. I all of a sudden I actually noticed what
I was hearing -- 50s & 60s-inspired bubblegum punk bliss awash in a blaze
of crunchy psych and teenage longing. This sugarcoated, crunchy pop zooms right
past the brain and goes straight for the gut. One of my favorite things in a
while, for sure. Some people will think it's too sappy and poppy, but those
people suck! (Phil Hunt)
SLEAZEGRINDER (USA) APRIL 2005 I figure these dudes are just fucking with us with this record cover. It looks like three guys from Jiffy Lube puking up a birthday cake. Is that anyway to sell an album? Must be like Smuckers – with a cover like that, it’s GOT to be good.And ya know, it is. The FEVERS are a trio of banana eating, beer swilling swell guys from St. Paul who play Saturday morning cartoon bubblegum pop from 1966. The optimistically titled “Love Always Wins” is their second album, and it practically bleeds rays of bright yellow sunshine. Songs like “Only You Can Do It”, “Is It Over” and “Bound To Cry” mix the RONETTES, ROY ORBISON, and the MONKEES in a sugar rush of fun city pop-rock that melts in your mouth and drills big scary holes in yr sweet tooth. Underneath the chewy bubblepop hooks and BAY CITTY ROLLERSYeah-Yeahs, there’s a gritty, KINKS-y garage rock band – dig the almost epic “Let Me Rock” for ample evidence – but mostly, it’s the kind of stuff you whistle along to while strolling through the park with your best girl. I know, people don’t DO that anymore, it’s all power-fucking in bathroom stalls these days, but if they did, then wow, would the Fevers be perfect for such activities.The only thing that could make this anymore perfect in it’s BANANA SPLITS-ness is if you had to cut it off the back of a box of Super Sugar Smacks.
TERMINAL BOREDOM (USA) APRIL 2005 It shouldn't be hard to make a record like this. From the early days of the British invasion, on through the advent of more lightweight (yet no less great) groups like the Archies, to power pop bands like the Nerves and their progeny (Plimsouls, Beat, Starjets, and the whole Good Vibrations family of bands), history is rife with bands who wrote deceptively simple, yet eminently memorable, tunes that leave you with little choice but to chew out the rhythm on your bubblegum. In other words, bands that played simple pop songs capturing the true spirit of rock n roll: having a good time at all costs. The plethora of bands that have made records like this might lead one the conclusion that writing and recording a great pop album is fairly simple; at least compared with bands that opt for a more serious and "relevant" approach. It shouldn't be hard to make a record like this, but evidently it is, because no one has made a pop record that captures the feeling of all of those classic pop records as well as "Love Always Wins" does in years. The Exploding Hearts album came close, but what this record has over 'Guitar Romantic' is a healthy nod to pop's pre-76 legacy. Tunes like "My Iy Iy" and "Photobooth" are straight up bubblegum that would sound at home on a Buddha Records compilation. Others like "Bound to Cry" and the title track are sterling examples of the late 70's power pop sound at its best. Then there's the surprisingly hard rocking tune called, appropriately enough, "Let Me Rock" which, like Firestarter's 'Livin' On the Heat' is a total affirmation of a life spent digging through discount bins for musical gold. "Let Me Rock" might be the only song that directly mentions record collecting, but all of these songs sound like they're being played by people with a real knowledge of, and love for, the spirit of rock n roll. "Love Always Wins" is a musical cocktail of the best of the past forty years of pop and rock history, and like any good cocktail it leaves me thirsty for another listen every time.(SS)
PSY REACTION ZINE (SPAIN) APRIL 2005 Another perfect album from one of the bests power pop going bands, i think that this album is even better than the first one. Like always it have a 60s approach that is what make them so cool and different and some more rockin' songs like "Let me Rock" that give to the album a bit of variety. With this album and the Mojomatics one i think Alien Snatch is consolidated as my fav record label going. The unique bad thing of the album is the cover.. because the guys looks too retarded and old fashion! Argggg!. (Raúl Problematic)
MAXIMUM ROCKNROLL (US) MARCH 2005 "Let´s get hurt" column by Mitch Cardwell The front-runner for The Hip-Shaker of 2005 has to be Love Always Wins, the new album from THE FEVERS! This band has been a longtime favorite of mine (and my better half) since their EXCELLENT debut single and they get better with every release. Operating on some weird plane in between power-pop and garagey R&B, The Fevers pull it off with every tune. Listen to “Dance” and try to remain still. It just won’t happen.
WAYBACK
MACHINE (US) JAN 2005 Wow! I just spun this one four times in
a row and didn't tire of it. That means GREATNESS, people!! I mean, yeah, their
first LP (GAAN DAAR WAAR DE MEISJES ZIJN... don't say that with a mouthful of
bubblegum) was incredible powerpop rock'n'roll and gained them worldwide fans,
but I'm tempted to say that this new slab is even *better*. This fucker is so
hooky I start to bleed everytime I put it on! They've been compared to the likes
of the NERVES, the KNACK, TEENAGE HEAD, the REAL KIDS and the PAUL COLLINS BEAT,
combining the late '70s powerpop/punk sound with '60s boygroups like HERMAN
HERMITS and the 1910 FRUITGUM CO. so you know they've gotta be great. But if
you still haven't heard their first LP that's where you need to start, although
I wouldn't fault you if you picked this one up first (your secret's safe with
me, chump). So many killer tracks loaded with infectious melodies here that
it's hard to pick favorites (or standouts to spin on my show), but the ones
that really stick in my noggin are "Dance," "Bound to Cry,"
"Love Always Wins" (the title track), "Photobooth" (some
of their best songwriting EVER!) and "My Iy Iy"... beautiful. Oh,
and Gavin's vocals are perfect. Nothing sugary sweet about 'em. Nice and raspy
like rock'n'roll vocals are s'posed to sound, like the well-worn sound of your
favorite slab of vinyl after a few hundred spins. On top of fucking great, catchy
music these guys give you the impression from their website and the pics on
album that they're completely fun, silly, unpretentious, loveable goofballs!
No rockstar stances or "we're oh-so hip" poses and artwork. WTF? What
label, you ask? Well, ALIEN SNATCH!, natch! Get it. (J.Kopper)
SAVAGE
(SWEDEN) MARCH 2005 Really like their power
pop ... The songs are good,... powerful ... poppy .. like it , ..Herman’s Hermits....
There’s a bunch more of the great songs that won me over on their last record.
When that aforementioned songwriting takes off that’s when the FEVERS really
raise the temperature. (Thomas)
BMO´S
WORLD (US) JAN 2005 The FEVERS have done it again. Another stellar
collection of bubble-gum pop with a punk kick, just the sort of thing to get
your morning off to a good start, or to kick your party into second gear. This
a record for all occasions, that's sure to please everyone in the family. My
5 year old daughter loves it, I love it, even my wife doesn't complain when
I turn it up loud. Lead singer Gavin's voice is the perfect instrument for singing
bubble-gum pop; he sounds just lke whoever the guy was who sang for the 1910
FRUITGUM COMPANY and the OHIO EXPRESS, and if you don't know who those bands
are you need to go back to rock'n'roll kindergarten. But it doesn't matter,
'cuz The Fevers might just be the only bubble gum band you really need to hear.
Songs like "Dance" ("I wanna dance with you, not the shimmy or
the boogaloo") and "Photobooth" will implant themselves in your
brain like the ink from your mother's sharpie on your pre-school BVDs. If you
believe that rock'n'roll is supposed to be fun, that it's supposed to make you
want to dance, that it's supposed to make you shake your head like Paul McCartney
and play air guitar while bouncing up and down on your sofa, then The FEVERS
are for you.
"Love Always Wins" is just as catchy and sugary sweet as their first
record, "Gaan Daar Waar De Meisjes Zin", but with a bit more of a
garage/punk edge, like adding an extra shot of Captain Morgan's to your rum
and coke. Let us all join hands for just a moment and say a prayer to the gods
of pop (not the Prince of Pop, he's a child molester) thanking them for giving
us The Fevers, and asking that they allow Brian, Gavin and Travis to continue
to write, perform and record tasty gems like this until the end times. (Brian
"bmo" Mosher)
GERMAN
FLYING REVOLVERBLATT (GER) DEZ 2005 Dieses inzwischen zweite Album der amerikanischen Fevers ist für mich ein heißer Kandidat für die besten fünf Platten des Jahres! Großartiger amerikanischer Power Pop wird hier serviert, die Songs sind hochgradig eingängig und absolut packend, ohne allzu schnörkelig zu sein. Schon beim ersten Hören ist tatsächlich jeder Song ein Gewinner. Die trifft besonders auf Kracher der Sorte „Don´t Tell Me It´s Wrong“ zu, die die besten Momente amerikanischem Power Pop und Punk Rock vermengen. Vielleicht ist die Kunst der Fevers clever zu klauen? Schön ist es auch wenn gleich nach der schmachtenden Ballade „Lonesome Tears“ wieder eine volle Breitseite mit „Let Me Rock“ nachgelegt wird, um anschließend zum Bubblegum-Pop-Titelsong „Love Always Wins“ überzugehen. Und auch bei „Only You Can Do It“ stellt sich prompt gute Laune ein. Auch wenn sich die Stücke wenig überraschend fast ausnahmslos Lovesongs sind, so wird’s doch nie richtig schnulzig, dafür sorgen schon die ruppigen Gitarren und nicht zuletzt der raue Gesang von Sänger Gavin.(cc)
FOMP
(GERMANY) DEZ 2005 Hab ich schon mal gesagt, dass Alien Snatch ein
großartiges Label ist? Ich wiederhol mich hier aber gern, ALIEN SNATCH
sind groß!! Wie sonst wäre man denn so eine Truppe wie The FEVERS
heran gekommen? Genau, Alien Snatch Records aus Untergruppenbach machen es möglich.
Diese Platte der „Fevers“ aus California, die aus Ex-Mitgliedern der Short Fuses
und Tina&The Total Babes bestehen, ist zwar schon sicher zwei oder drei
Jahre alt, aber gute Rock´n´Roll-Scheiben sind eh zeitlos und so
verhält es sich auch mit „Love Always Wins“. Geboten wird mitreißender
druckvoller Bubblegum- Powerpop mit zuckersüßen schmachtenden Melodien
und ein Hauch von garagigen 60ies weht um die Nase. Dazu noch ein näselnd-
säuselnder Sänger, der einen Lovesong nach dem anderen schmettert.
Die Riverdales lassen deutlich grüßen. Ein zum Verlieben schönes
Album und eine Band, die ich jetzt schon für unvergesslich halte. Jetzt
muss ich mir noch den ersten Longplayer besorgen und alles wird gut.
SOUNDFLAT(GERMANY)
JAN 2004 Und hereinspaziert in die sehr sehr
bunte Welt der FEVERS! Noch einen draufgesetzt beim Design des Covers ihres
2. Albums?, noch bunter, noch cooler, noch FEVERS!! Man bediente sich im WHITE
WHALE Label Archiv und heraus kam dieses wundervolle 60's sleeve. Und schon
hast Du ein ganz breites Lächeln im Gesicht, ein Lächeln, dass Du
während der kompletten Spielzeit dieser Platte nicht mehr verlieren wirst.
Angefangen bei dem Ultra Boogaloo Power Pop smash "dance", oder bei
den hervorragend geklauten Songs wie "Don't tell me it's wrong", welches
genau wie CHOIRS' "its cold outside" anfängt, oder "let
me rock", abgekupfert von DICTATORS' "next big thing"! Und das
ist bei weitem nicht böse gemeint, alle guten songs der R&R Geschichte
sind geschrieben, nix muss mehr neu erfunden werden. Und so zieht sich der Faden
durch das komplett in sich stimmige Album und lässt einen erst nach dem
letzten Song los, leider viel zu früh. Die FEVERS haben einen weiteren
Klassiker aufgenommen, eine Scheibe, die eben all die lieben werden, die auf
60's Folk Beat, auf 70's Power Pop und auf ihre Freundin stehen. Vinyl kommt
im Übrigen noch mit einem Riesenposter. Und schon ist Sommer!
INCOGNITO
(GERMANY) JAN 2004 Zweiter Longplayer dieser ausergewöhnlichen
Bubblegum Pop Punk'n'Roll Schmiede, deren Songs für ein Trio größtenteils
raffiniert ausgefeilt sind, und doch immer extrem eingängig klingen. Von
mitreißenden Partynummern wie "Dance", über Songs wie "Don't
Tell Me It's Wrong" oder dem extrem rhythmisch stampfenden "Love Always
Wins", beide mit leichtem Powerpop Touch, bis hin zu großartigen
Midtempo Rock'n'Roll Hits wie "Lonesome Tears", oder Songs wie "Get
Your Luvin" mit leichtem 60s Beat Touch, zeigt sich die Band wieder von
ihrer ganzen Bandbreite und Stilvielfalt. 12 Nummern die durchweg beste Stimmung
verbreiten und jedes trübe Winterwetter sofort vertreiben. Schönes
Fake-Artwork im Stil der Plattenfirma WHITE WHALE. Die Erstauflage kommt auf
160g Vinyl und mit großem Farbposter!
Dig
It ! (FRANCE) #34 JUNE 2005
Le label reste fidèle aux Fevers et sort leur deuxième album.
Vous vous souvenez, c'est ce trio américain où l'on retrouve Travis
Ramin (celui des Short Fuses et Tina & The Total Babes) à la batterie.
Power-pop à tous les étages, des Real Kids à The Knack
en passant par les girls groups ("Don't Tell Me It's Wrong") ou Wreckless
Eric ("My Ly Ly"). Z'ont des looks de potaches, bonnet de marin, écharpe
en laine et pantalons blancs, un son "comme à la maison", avec
approximations de rigueur, et un chanteur parfait avec sa voix nasale et haut-perchée.
Ils font une reprise du "Let Me Rock" des Flamin' Groovies un peu
mollassonne à mon goût (réécoutez celle des Shoo
Chain Bros sur le Tribute sorti il y a quelques années chez Safety Pin).
Love Always Wins reste un très bon disque de power pop quoiqu'un poil
trop classique. (GD)
RUMORE
#160 (Italy) May 2005 E’ molto più facile fare un album
sparato a 1000 all’ora, che costruire
melodie cristalline all’interno del tipico impianto r’n’r. Pensateci. I barbari
scesi dal nord ci attizzano, i truci garage-punkers della provincia americana
ci fanno venire le farfalle allo stomaco, gli energumeni tatuati dell’hardcore
ci iniettano della sana cattiveria. Ok, ma essere rapiti da perfette canzoni
di r’n’r melodico è tutta un’altra storia. Il power-pop trio di Minneapolis
fa esattamente questo: ci rapisce, dalla prima all’ultima nota dello spettacolare/Love
Always Wins/. Un po’ KINKS, un po’ PLIMSOULS, un po’ BEAT e molta, moltissima
farina del loro sacco. Magari andranno su major, magari scaleranno le classifiche…magari!
Se tutto ciò è capitato ai Thrills, quantomeno spetterebbe anche
ai FEVERS. (Manuel "manwell" Graziani)
IPUNKROCK
(SPAIN) OKT 2005 Que le puedes pedir a una canción de POP
o POWER-POP para que te guste?... pues eso es lo que te dan The FEVERS, canciones
pegadizas, cortas, sencillas, melódicas, rocanroleras y tocadas con la
energía necesaria para hacerte bailar, hacer que levantes el culo de
la silla, que muevas los pies y agites el esqueleto con su ritmo contagioso.
Después de su disco debut de impronunciable nombre "Gaan Daar Waar
de Meisjes Zijn" este power trio de Minneapolis compuesto de bajo y voz
principal (Gavin), guitarra (Brian) y batería (Travis) consigue, con
este "Love Always Wins", que al escucharlos pienses en bandas como
The NERVES, REAL KIDS, FLAMIN' GROOVIES, YOUNG FRESH FELLOWS o EXPLODING HEARTS...
por citar algunas. Es dificil escoger uno solo de los doce cortes que contiene,
puedes comprobarlo tú mismo, escuchalos y dime con que tema te quedas!!!
Imposible!!! todas son piezas de coleccionista, ideales para incluir en una
rodaja de vinilo 7", para cualquier fiesta de rock'n'roll, para bailar
y para pincharlas una y otra vez sin que te aburras. En definitiva una maravilla
de disco!!!.
MORE... (Markenstein)
BlOODY MARY (SPAIN) MAY 2005 Joer!!!!!, el nuevo disco del trío de Minneapolis suena a gloria, directo, fresco y cargado de pop de guitarras sin mas complicación. Guitarra, bajo, batería como decían los recomendables Young Fresh Fellow y con Gavin, Brian y Travis que van sobrados de ganas, total 11 canciones tan espontáneas que cuando ha terminado el disco , solo recuerdas que te han dejado un excelente sabor de boca, mientras la aguja se roza contra los surcos, los chicos desgranan temas como “Dance” tan tosco como pegadizo, recuerdan a los Choir con el sempiterno “It´s Cold Outside” cuando suena “Don´t tell Me It´s Wrong”, se desmadran con las directas “Bound to Cry” ó Let Me Rock” dos inyecciones de adrenalina en forma de canciónes incombustibles, de esas que siempre disfrutarás cuando vuelvas a pinchar este disco. “Love Always Wins” en donde pueden recordar a unos Raspberries sin el mas mínimo atisbo de refinamiento musical, pero tan especialmente básicos como mágicos, la primaria “Only You Can Do it”, en donde parecen unos quinceañeros haciendo rock & roll con grandes dosis de pop, cuando suenan “Get Your Luvin” ó “Photobooth” te da un subidón que no piensas mas que en dar saltos y pasarlo bien, se marcan un “My Ivy Iy” que es otro pepinazo de rock de esos que te ponen las pilas con las guitarras súper-agudas y cierran con “Once Upon a Time” donde se muestran tan recomendables como los Ramones o los Beat de Paul Collins, y con la sana intención de divertirse sin complicarse la vida buscando la melodía perfecta e inolvidable. (OscarKOTJ)
TEEANAGE WASTELAND (SPAIN) MAY 2005 El amor siempre gana. Fantástico (en sentido figurado y literal) título para un fántastico disco, el segundo de este trío de ex – teenagers de Minneapolis. Siguiendo con la fórmula de su primer disco, a saber, 1) producción sencilla tirando a inexistente, 2) sonido crudo pero con los cantos limados y 3) protagonismo total y absoluto de las canciones, que, ellos lo saben bien, son su mejor baza. Ya se sabe, cuando las canciones son buenas, o más bien, cuando las canciones son muy buenas, no hace falta cambiar de formula, no hace falta refrescar ni reciclar influencias ni intenciones, porque todo está bien. Del mismo modo, sin una buena canción, o más bien, sin una muy buena canción, puedes dar las vueltas que quieras, copiar los más exquisitos arreglos o reciclar ideas de los más oscuros vinilos, que no funcionará. Les pasa a decenas de grupos actuales (ahora todos quieren ser Brian Wilson, mira tú, como si fuera tan fácil). Y es que aunque la mona se vista de seda, mona se queda.No este el caso de los Fevers, que, con la mayor naturalidad, han vuelto a enlatar en este Lp 12 canciones de puro powerpop (devaluado término, lo sé) con las dosis justas de dulzura, chispa, volumen y arrogancia como para que puedas pincharlos dos o tres veces seguidas sin aburrirte, y no es una frase hecha, es que lo acabo de comprobar. Las melodías delatan pasión sincera por el lado más teenager y radiofónico del pop de los 50s y 60s (el bubblegum es un referente constante en su hoja promocional), las guitarras y base rítmica reivindican el colorista sonido de Who, Move o Creation, la voz principal se ha despojado del toque Mick Jagger circa 66 del que hacía gala en su primer disco pero se mantiene rasposa y seductora. Todo combinado, rock’n’roll apasionado, contagioso y vital.
german french italian swedish spanish
ENGLISH
UNCLE
DAN'S HOUSE OF SMUT (US) AUG 2004 When you mention "pop"
music to most self-respecting rockers these days, you're likely to be met with
a look of disgust--images of the garbage pimped by MTV and the like springing
to mind. However, there are still those who remember kinder, more flattering
times for the form. If we get more bands like the FEVERS and more albums like
their superb gaan daar "waar de meisjes zijn" coming our ways,
"pop" might just stop being such a dirty word, once again becoming
something worth embracing.
For those unfamiliar with the FEVERS, they play pristine power pop with a slight
60's garage rock edge to it. The best overall comparison to these guys would
be the TROGGS, though this album also feels very akin to the handclap littered
bubblegum of NIKKI CORVETTE. Still, GAVIN MAY's nasally vox bears more than
a glancing resemblance to REG PRESLEY´S--for its ability to be
simultaneously gutteral, perhaps Mike Maker's voice on all the MAKERS albums
up through Hunger, as well. The production quality here is clear as a bell which
suits the material perfectly. That's not to say gaan daar waar de meisjes zijn
lacks balls, though--these performances all retain just enough rawness and looseness
to keep a bit of an edge. Translation: everything here is just right.
Gaan daar waar de meisjes zijn is a virtual classic, based on its impeccable
songwriting alone. This album is completely without fault, every song being
top shelf quality and flowing in and out of themselves seamlessly. That said,
there are a pair of standouts on this disc. First, "Love's Gettin Better"
which is one of the most infectuous gallops of a song ever laid to tape. Ditto
for "Ooo That Kiss," its stomp of a chorus proving too irresistable
to say no to.
Lots of bands try to cop a vintage vibe, and while successful at it, wind up
feeling a bit dull. The FEVERS may very much recall the sounds of the past but
"gaan daar waar de meisjes zijn" still feels like one of the
most vital listens you'll ever lay ears on. As long as there are still bands
like this around, worthwhile pop music actually stands a fighting chance. This
one's a winner.
CYCLOPS
ZINE (USA) NOV 2003 “Gaan Daar Waar De Meisjes Zijn” is the first
full-length by the FEVERS. It was released last year (2002) on ALIEN SNATCH
Records but I just got it. If I had gotten it last year it would have been near
the very top of my Albums of the Year. It is really great. I have played it
over and over again since I got it. It makes me so excited when I hear something
new and fantastic. I want to share it with everybody. The FEVERS are from Minneapolis
and play some of the catchiest and rockin’ power pop you’ll ever hear. Every
song on this disk is a gem and will get stuck in your cranium. Everything is
about perfect, from the guitar riffs, to the drumming tot the singing. Gavin
May has a great voice that slides all around the wonderful melodies he writes.
You’ll take to each song so fast, you’d swear they’re all covers (only a couple
are). My favorites include, “Too Early For Love,” “Love’s Getting’ Better”,
“Cry To Me” and “Tonight’s The Night.” The absolute best song on the record
and my new favorite song is “Born To Be Your Baby.” My two year-old daughter
loves for me to hold her and dance around the living room while we sing it to
each other. If you pass me on the street you’ll hear me singin’ it. The title,
“Gaan Daar Waar De Meisjes Zijn”, is in Dutch and my trusty on-line translator
tells me it means “To go there where the little girls are.” I see an upcoming
show is at some Middle School in Pennsylvanian, so I guess they take that literally.
Well, those kids are lucky; because this is one of the best records I’ve heard
in a while. It’s a classic. You gotta check out the FEVERS.
VINYL
A-GO-GO (USA) JUNE 2003 I wanted it bad. I wanted it sooo bad. I
really wanted it. I really, really needed it. I emailed Germany. I phoned Berlin.
I pleaded with Daniel. I chatted with FEVERS. Still it wouldn’t come. The postal
officials stole it. The Germans wouldn’t release it. Finally it hit my shivering
tin box. It was cold. The guys on the cover were bundled up. The tunes were
hot. I was busy. I was bored. I was lazy. I listened. I loved. I didn’t write.
I didn’t listen. I got emails. I apologized. I procrastinated. It got warm.
It got cold. It rained. It rained. And rained. And rained. One day it stopped.
The next it started. Now its fucking hot. And muggy. And sunny. And rainy. Now.
Three months later. I’m finally reviewing this gorgeous gift of power-pop perfection.
Power-pop: it’s a word I throw around just as much as the next guy. It’s a genre I didn’t know existed until three years ago. Then I bought a Beat LP. Then I bought a Shoes LP. Then people asked me what was so great about power-pop. Where was all the power? I didn’t know. Not just where the power was, but what was so great about it.
But then a girl broke my heart. No. Girls. Girls broke my heart. It was so broken that only the Shoes helped. But that’s hyperbole. I don’t know what helped. But songs certainly did. Songs of love. Songs of hate. Songs of longing. Songs written by some pathetic guy (or girl) about some other pathetic girl (or guy) who simple happened to be the first one to lose the spark, the most unfortunate perhaps because it was she (or he) who had to become the hated, the loved, the longed. But fortunate perhaps because it was she (or he) who became the obsessed subject of an infectious, soothing, soaring pop song. It was she (or he) who became a name on a rotting LP jacket in the back of the ‘80s bin at Mugsy’s Records in Bloomsburg, Pennsylvania. It was she (or he) who was longed not longing.
So that’s what’s so great about power-pop. Its about heartbreak most times. And while the current state of everything has made me realize there is more to life than songs about girls, it has also proven to me that there is something quite beautiful about a song about a girl still being written in the face of the current state. And so I love The FEVERS, and not just because they write about girls. Certainly this fact does not define one as a power-pop band. And what does? That down in the hip, up in the neck swagger. That foot-tapping juice-driving heart-soaring lead. That gut wrenching, hip-flipping hookalicious song writing. That sheer fucking addictive aural sugar-packed root. It’s a fucking feeling and a science, but mostly a feeling. You can’t fake it. You can’t simply label yourself and be set. You gotta fucking feel it. And sure, sometimes it’s slow and the swagger ain’t there (certainly the swagger of The Shoes ain’t as hip as the swagger of The Beat). You wonder, what the fuck is swagger? Come on over and I’ll show you all the time.
So I love The FEVERS. It’s all about Gavin’s voice. He’s got this raspy, guttural singing that doesn’t lose any of the sugar and rips all the longing from his heart AND yours and shoves it on the turntable till its dripping sugary gobs of love fluid inside the A and B side of the tape deck. And then there’s the swagger (we covered that). And the crunch. You gotta have the crunch. And if you don’t know what I know you haven’t listened to punk rock long enough (and that’s OK, just listen longer). And there’s this funky danceability in the beat (ah, the beat, SO fucking important and yet SO many bands start out all assbackwards and build the beat around the song. NO FUCKO, I may not be a REAL musician (lest you call jabbing the gray plastic font fixers some sort of instrumental talent (Lester! I love you!)), but I know that the best songs got the best beats. I mean fuck. You can get MY gears grinding with the beat alone. And anyone who dances better than me knows that you move your feet to the rhythm of the beat. For a fuckup that hated music class at the elementary, middle, junior, senior, and collegiate levels I sure as shit pretend to know a lot about it. Notes make as much sense to me as politics. But when someone drops a bomb or bangs a drum I sure as fuck know what to do (dance and march).
So The FEVERS. They just got it man. As the wonderfully exact and correct ALIEN SNATCH! press release once again tells us they’re not only power-pop, they’re bubblegum too! And shit, the only thing better than power in your pop is bubblegum in your pop. And then there’s plain old POP. And then there’s rock and roll. And then there’s punk. And they’ve all got fingers shoved deep in each others respective orifices (fingers to twats to dicks to ass or something equally horribly vulgar and unprofeministofme (or?)) and so we LOVE them all (and love to like, get on down to them all and such). And so do The FEVERS. They’re running rampant all about the fingering field and loving every second of it. And songwriting? Next to beat, songwriting is like the fucking thing. If you can’t write a good song then stop fucking playing. It ain’t about recording. It ain’t about playing ability. And it ain’t about your haircut. And while The FEVERS certainly don’t slack in any of these areas they also write GOOD songs. You could record a GOOD song on that sawed-in-half, ‘70s tape deck that your Grandma used to listen to your uncle’s wife’s divorce message and nothing else ever and use no solos, no full chords, no nothing, just fingers and strings, and you could do it with a mullet. And it would STILL BE BETTER THAN A SHITTY ASS FUCKING SONG RECORDED IN ONE OF THEM HOTSHIT RECORDING STUDIOS (Trivia: I just typed that entire sentence while brushing aside the key of Cap Locks and instead holding down the right shift with my right pinkie and yet still being able to type fully correctly with both hands of digits. Kazow!).
Have I tangent-ized enough (and made-up-ified enough?)? What do you say about this record? If you don’t own it (with skips in the first track like mine (because I treat my records like a junky treats the middle of his toes (stuck with needles but not very carefully)) then you should probably think about it. But if you’re too busy marching or trying to make enough money to pay your scumbag landlord it’s OK. Come on over. I’ll show you swagger and play you The FEVERS.(LH)
SMASHIN
TRANSISTORS (USA) FEB 2003 Their single on Lipstick from a couple
of years back was a nice little glob of lo-fi bubblegum trash but it still didn't
prepare me for this. It's like someone unearthed one of the lost great punk
rock influenced pop bands of the last 25 years. There's been several times where
I've looked around the album jacket for clues. These HAVE to be covers songs.
Bands don't (or in a lot of cases can't) write songs like this much anymore.
It's like driving around with WRECKLESS ERIC in the tape deck, the JAM on the
mind BUDDY HOLLYin the heart. In a wrinkled button down collar shirt and a little
black book fulla phone numbers the FEVERS, in a perfect world, would be blasting
out of radios, people would be tapping their hands on the steering wheel and
dashboard and overproduced shallow "deep thinking" jackasses like
Creed and Third Eye Blind would perish under an avalanche of jewelcases from
their own product. (DM)
ALPHA MONIC#2 (ITALY) 2003 I am surprised! After their fantastic 45 on Lipstick, I am continuing to listen to this long playing. If you are into the best late '70's power pop sound, you will surely like this band, they remind of the REAL KIDS and also sixties pop. Judging from the pictures, now they should be all men. Pleasant and relaxing (Andrea Rota)
GO-METRIC(USA) FEBRUARY 2003 Nearly everything Travis Ramin touches turns to gold. He`s played a part in two awesome power pop bands (CANDYGIRL, TINA & THE TOTAL BABES) along with one decent rock band (SHORT FUSES). And now the FEVERS and their magnificent debut album. My ,oh my. Gaan Daar is more polished than the ep the FEVERS did for Lipstick Records, but that choice only lets the pop shine all the brighter. Think ROLLING STONES, circa `67, or the firts BIG STAR record, pick up the tempos a bit, and you`re on the right page. But you won`t get the picture until you`ve fully absorbed Gaan Daar, because the FEVERS pop moves from all parts of the pop universe and toss in a bunch of their own, too. This record is as riveting as it`s title is baffling.
MAXIMUM ROCK-N-ROLL (USA) FEB 2003 "ALIEN SNATCH! records, out of the lovely and cheerful country of Germany, released some fine power pop records last year. And when I say fine, I mean mother fucking dandy hum-dingers. The newly relocated/ former San Francisco natives the FEVERS released their power pop masterpiece Gaan Daar Waar De Meisjes Zijn (lemme tell you it was a pain in the fucking ass for me to get a copy of this bad boy. Every fucking record store I went to for two months was either "sold out and not ordering more for quite a while" or simply didn't carry ALIEN SNATCH! releases [for whatever dumb ass reasons], so when I finally found a copy I scared the shit out of the cute little Asian girl who was standing next to me browsing through the FAINT section or whatever, by yelling out "Finally! It's about mother fucking time God dammit!" at an unnerving volume), and it rivals their debut single, Show, in terms of greatness and all around catchiness. Brian and Gavin recruited Midwest producer/ songwriter/ drummer Travis Ramin (the man who penned the majority of the TINA AND THE TOTAL BABES album) and they cranked out this masterpiece. Magnificent.("Burning Bridges and Making Friends with Bobby Manic")
HORIZONTAL
ACTION (USA) NOMEMBER 2002 I
loved their first 7" "Show" and this full-length doesn´t
dissapoint me its fucking power-pop brilliance- Cleaner Production, but catchy,
sappy and sometimes lovey-dovey songs sung with more syllable extentions than
Mick Jagger could ever imagine. Poppy, but raw guitars and those snotty vacals
must get these guys in the ladies´pants quite quickly. It´s tough
pop like he ROLLING STONES, REAL KIDS, CHEAP TRICK and the MULLENS and if you
couldn´t guess, it´s really addictive. I can´t stop playing
it, and I´m always sangin´those catchy choruses, and it needs to
fucking stop. One of my favourite records of the year
already.(Rod)
SAVAGE
MAGAZINE (SWEDEN) DECEMBER 2002 Me
and Artemi figured out this must mean going where the girls are, probably in
Dutch. I heard a 7” with these guys a long time ago and it was pretty cool but
this is way better. Really really great power pop/rock’n’roll. Loads of great
hooks. One of my favorite records of this year!
Be sure to pick it up! (MS)
ZOOPA
LOOP eZINE (FRANCE) NOVEMBER 2002 I just have few infos about this
american power trio coming from St Paul, Minnesota. They have released a 7"
on Lipstick records in 1998 and have played few shows here and there in the
USA but nothing more until the release of this first full length album last
july. Consisting of Gavin May (vocals, bass), Travis Ramin (drums) and Brian
Hermosillo (guitars), the band plays an energetic and fresh 60's inspired pop
'n' roll which reminds me of The KINKS, The REAL KIDS, The early ROLLING STONES
and the RAMONES. It's like if The FEVERS had simply kept the best of each of
them to blend it with their own rock'n'roll mixture. Clocking under 30 minutes,
this record is a digest of rock'n'roll which besides includes some covers of
BIG STARS "Girl after girl" as well as Small faces' "All or nothing".
Both of these songs become very well integrated with the other numbers that
I haven't distinguished them from the band's original stuff during the first
listening. I knew that some parts reminded me of something but I wasn't able
to tell who or what before I read another review that has told what it's all
about. With such tracks as "C'mon on my baby", "Ooo that kiss",
"Love's getting better" or "Bottom of the sea", the guys
have succeeded to write some really catchy songs thanks to their choruses which
are so fresh that I have found again a bit of the ingenuousness which had made
The Ramones so precious during almost 25 years. Musically, most of their songs
are based on a strong simple rhythmical section which gives way to the crusty
60's influenced guitars as leading instrument. "Too early for love",
"Cry to me", "Tonight's the night", "Born to be your
baby" are some delicious moments of rock'n'roll where the Iggy Pop flavoured
vocals of Gavin brings an angry vibe to all of them. Finally the combination
of both sides sound very classic but so efficacious that you can't stop playing
this album for a few weeks and whose unpronounceable title (for me) as well
as the really 60's artwork show a band that really doesn't care about everything
except its music and that's the main point. Pretty good debut. (Renaud
Rigart)
SHREDDING
PAPER#14 (USA) SEPTEMBER 2002 Despite the name of the CD, this is
a band from the Minneapolis area, and they´ve got a snotty punk via the
STONES mixed with great 70s power pop via PAUL COLLINS BEAT or STIV BATORS solo
sound. Lead Singer Gavin May´s voice is something that you are likely
to either love or hate, it´s nasally, throaty, and has plenty of snot,
and I´ll admit the first time through, I had a hard time with it, but
slowly grew on me, probably because the songs are so blazingly hot, and his
voice is a perfect match for the tunes. My favorite is the hooky and jangly
"Tonight´s the Night", but there are several great tunes here,
all great mid-tempo rockers that have trashy appeal, great pop hooks, and the
perfect for the genre focus on girls. THIS IS A BLAST ! And it´s sorry
day that bands like this have to go to Germany to put this kind of material
out. Forget what I said in my column about hiding somewhere if I win the lottery,
I´m gonna start a label and put this kind
of music out! (Steve)
UP YOURS (BELGIUM) SEPTEMBER 2002 the debut by the Saint-Paul, Minneapolis based powerpop kings THE FEVERS. The bands first 7" on Lipstick Records didn't blow me totally away, but the potential was there, thes songwriting capacity was present. With this Dutch-titled LP THE FEVERS made a major throw for the top of current powerpop fame in a raw 60s beat-inspired, RealKids-injected adaptation of R'n'Roll at its most harsh angle. With healthy dose of melodic punch in the overall sound THE FEVERS manage to bring 11 tunes that stick inside your head like instant glue and will have you humming along in no time (Bowy)
NOW
WAVE MAG (USA) AUGUST 2002 The FEVERS’ debut long-player is---in
the words of the great Andrew Dice Clay---UN-FUCKING-BELIEVABLE. This fab record
is a pure, old-fashioned delight---for The FEVERS flawlessly tackle a tried-and
true power pop/rock n’ roll approach along the lines of THE REAL KIDS, THE (PAUL
COLLINS) BEAT, THE FLAMIN’ GROOVIES, and solo STIV BATORS. No filler, no wanking,
no bullshit---just 100% AWESOME good-time tune-age that’s as balls-y as it is
catchy (and that’s SAYING something, Bro!). From open to close, this album smokes-----and
its fun, infectious numbers are as simple and satisfying as lemonade on a hot
summer day or sex on a Saturday morning! You know the deal: a driving beat,
a bodacious mid-tempo groove, guitars that kick ass, snarling vocals that’ll
get you jumpin’ and humpin’, bubblegum melodies filtered through a trashy rock
aesthetic, and should-be-smash-hits to DIE FOR! Oh, baby! If they still played
real rock n’ roll on the radio, “Girl After Girl” would ALREADY be your new
favorite song! Or how about "Too Early For Love"? Oh, YEAH!!!! You
know how it is with this sort of thing: if it sucks you call it “retro”, but
if it rocks, you call it classic. This album is classic.
(Josh Rutledge )
SOUNDFLAT(GERMANY)
JULY 2002 Incredible Debut by the Band, that
had this amazing 45 on the fab LIPSTICK Label! Think of canadian late 70´s
Powerpoppers TEENAGE HEAD, maybe THE REAL KIDS...or a harder version of THE
DECIBELS!!! Excellent hit galore stuff! 11 tracks incl. a SMALL FACES coverversion!
Housed in a styleful 60´s fake cover!The vinyl record is a deluxe 220g
wax, the digital output is in a neat heavy paperstock digipack, all in a traditional
Fantana Records style artwork.
BLANK GENERATION (USA) JULY 2002 Hey, the FEVERS… Haven’t heard these kids since their simply amazing Lipstick records 45. So now they are back with an attack of power pop! Yeah, they lost the garage punk effects and go straight for yr heart with songs of heartbreak and romance. If yer a fan of the power pop, or pop musick in general, the FEVERS have the hooks and charm that you’ve been looking for. "Love’s getting better," "Ooo that kiss," "Tonight’s the night"………PopPoPoPoPoPopOp on thick white vinyl! (JD)
GERMAN
GREEN HELL(GERMANY) JULY 2002 Sehr geiler Power Pop von ex- Mitgliedern u.a. der SHORT FUSES, TINA & The TOTAL BABES und DONNY DENIM. Nach einer 7" auf Lipstick, jetzt also das Debüt Album, und wer eine Schwäche für klassischen 70er Sound a la TEENAGE HEAD oder auch REAL KIDS, vermischt mit einer ordentlichen Prise Sixties Pop hat, u.a. beispielsweise die SMUGGLERS oder HI-FIVES zu seinen Lieblingsbands zählt und die klassische Trio Besetzung eh für unschlagbar hält, der wird an den FEVERS seine helle Freude haben!! 11 ansteckende Gute Laune Songs über "girls & love", "love & girls" und was sonst noch so wichtig ist im Leben.
FLYING REVOLVERBLATT #23 , OKTOBER 2002 : Puh ! Was für eine Band. The FEVERS aus California waren mir bis jetzt komplett unbekannt, und nun schaffen sie es mich aus dem Kalten komplett vom Hocker zu reissen. Das hat lange keine neue Platte mehr geschafft. The FEVERS spielen wunderbar mitreissenden Power Pop. Hier stimmt alles - druckvolle Gitarrensounds mit punk power, wirklich eingängige Melodien und gute Songideen. "Born to Be Your Baby" ist einfach eine verdammte Hymne und mit dem absoluten Hit auf der CD "Girl after Girl" beweisen die drei Jungs auch noch Geschmack - schön, dass es solche Bands gibt. Respektabel ist auch die Leistung, des ALIEN SNATCH! Daniel, diese Scheibe herauszubringen, und nicht etwa nur als schicke digipack CD sondern auch als deluxe 220g Vinylscheibe.
PLASTIC BOMB (GERMANY) SEPTEMBER 2002 Na bitte, man kann sich auch ungezügelt seiner Vorliebe für den Sound der 60´s hingeben ohne den Eindruck zu erwecken etwas längst Verblichenes halbgarund uninspiriert wieder aufzukochen. THE FEVERS huldigen auf diesem gutklassigen Album gekonnt und authentisch den 60ern und transportieren Ihre Stücke seht zeitgemäß ins heute. Jedes einzelne Lied hat einen einprägsamen Refrain. THE FEVERS haben den Azuftra Ihren Hörern eine guet Zeit zu bescheren, und diesen Auftrag erfüllen sie mit Bravour. 60´s Punk vom allerbesten ! (SB)
FLIGHT13 (GERMANY) JULY 2002 Der Gitarrist von DONNY DENIM (7" auf Radio X) und der Drummer von TINA & The TOTAL BABES plus Kolleg Gavin mischen das Power-Pop Universum auf. Das ist eine Scheibe, mit der ich sogar meine Mutter begeistern könnte, schließlich trieb sie sich früher in Freiburgs´ einschlägigen "Star-Clubs", wo etliche Bands in den Fußstampfen der Beatles & Co. ihr Unwesen trieben. Power-Pop, ein wenig 60s, Garage und Rock´n´Roll in perfekter Mixtur. Textlich geht´s um Frauen ("born to be your baby", "too early too love", "girl after girl", ... )
Dig
It ! (France) # 26 SEP 2002 Les FEVERS tirent
une ligne directe entre BIG STAR (dont ils reprennent le "Girl After Girl")
et les REAL KIDS (ils en ont la mélodique énergie). Chaque morceau
sonne comme un classique, et ce n'est pas juste une façon de parler.
A tel point qu'on se demande s'il n'est pas uniquement composé de reprises
(aucun crédit sous les titres). Vérifications faites, on n'en
trouve que deux, "Girl After Girl". Le guitariste du trio, Brian Hermosillo,
n'en est pas à son coup d'essai, il joue dans The Sweet Faces, c'est
aussi lui qui tenait la guitare, la basse et les manettes de producteur sur
le single de DONNY DENIM chez Radio X Rds et il est également impliqué
dans l'aventure TINA & TOTAL BABES. Quand au batteur, Travis Ramin, il est
habituellement guitar-hero chez les Short Fuses et sévit parfois en one-man
band sous le pseudo de Smack Ramin (lui aussi est impliqué chez les TOTAL
BABES). Le chanteur/bassiste s'appelle Gavin May, et même s'il n'a pas
(à notre connaissance) un cv aussi fourni que ses deux comparses, ses
attaques mélodiques et la perfection du timbre font de lui l'argument
le plus redoutable des FEVERS pour une éventuelle invasion des charts
indépendants (les colleges-radios US devraient être preneuses).
En attendant, ce LP fera bonne figure sur vos platines. A propos des Short Fuses
de Travis, sachez que leur chanteuse Georgia fait ici de brèves et discrètes
apparitions aux choeurs. Bien, il me reste à vous donner le titre de
l'album, ce n'est pas le plus facile : Gaan Daar Waar de Meisjeis Zijn (c'est
du hollandais et ça veut dire quelque chose comme ...Vont Où Sont
Les Filles). Classez ça au rayon "power-pop
rock'n'roll", catégorie hit-makers.
RUMORE #134 (Italy) March 2003 Anni di riflusso "power-pop"...I FEVERS, da SanFrancisco, con un solo 45 all'attivo già si erano fatti notare per abilità compositive certamente non comuni. La piacevole conferma giunge ora con questo 1°album dal titolo olandese pubblicato da una label tedesca. Ispirazione sixties, melodie accattivanti, attitudine punk e atmosfere da epoca "bubble", per uno dei migliori albums in circolazione. . (Manuel "manwell" Graziani)
BAM MAG#2 (Italy) 2002 Che disco stupendo! Questo trio di Minneapolis suona un delizioso power pop con venature rock'n'roll. Ricordano i Real Kids ed i Beat di Paul Collins, ma anche i fantastici (e purtroppo sconosciuti ai più) Malakas. Ciò che impressiona è che questo loro debut album è talmente bello da sfiorare i vertici toccati nel primo album dalla band di John Felice. No, non sono impazzito…da giorni questo lp continua a girare ininterrottamente sul mio piatto…e ad ogni ascolto mi convinco sempre di più che le canzoni sono tutte dei piccoli gioiellini, in particolare "C'mon on my baby", "Born to be my baby" e "Tonight's the night". Aggiungo solamente che troverete anche una buona cover di "All or nothing" degli Small Faces (inferiore comunque alla versione definitiva di questo pezzo, incisa dieci anni fa dai Dogs D'Amour), che la copertina è in pieno 60s style con tanto di logo distorto della Fontana, e che il vinile è bianco e pesantissimo (220 grammi). Fatevi un favore e regalatevi quest'album dal titolo impronunciabile… di questi tempi dischi del genere sono davvero cosa rara.
BLOW UP #54 (Italy) OCT 2002 Anni di riflusso "power-pop"...I FEVERS, da SanFrancisco, con un solo 45 all'attivo già si erano fatti notare per abilità compositive certamente non comuni. La piacevole conferma giunge ora con questo 1°album dal titolo olandese pubblicato da una label tedesca. Ispirazione sixties, melodie accattivanti, attitudine punk e atmosfere da epoca "bubble", per uno dei migliori albums in circolazione. . (Pierluigi/Hate Rec. )
GORILLA
ZINE (Sweden) NOV 2002 Jepp, har man lovat att starta hype ska här
bannemej startas hype. En hype i paritet med Lokko/Harcourt. En hederlig svensk
hajp! Under senare år, i samband med Detroit- och retrovågen, har
svenska (och för all del också utländska) musikjournalister
letat febrilt och förmodligen slickat en hel del röv för att
kanske kunna vara först ut att hylla just det där bandet från
just det där stället som kanske, kanske är de nästa The
Strokes eller White Stripes. Jag ska inte säga att jag hittat ett substitut
till nämnda band. Men ett jävligt bra komplement. Strokes och White
Stripes är exempel på fruktansvärt bra band som ploppar upp
då och då här och var oberoende av våger och hyper. I
det här fallet var de delaktiga i att skapa en våg och en rad hyper.
The FEVERS är så först ut på Minneapolis-scenen att hypas.
På ett tag i alla fall. Jag ska kanske klargöra att trots den flamländskt
klingande titeln är The FEVERS från Minneapolis och ingen annanstans,
Unites States of America med andra ord. Vilka andra band finns det då
i Minneapolis? Njae...på 80-talet fanns där Hüsker Dü och
The Replacements, och de befinner sig ljusår musikaliskt sett från
den powerpopgarage The FEVERS producerar. Alltså har Gorilla zine har
upptäckt en ny scen, såvida vi kan backa upp det här med fler
band. Oj, nu blir det svårt. Lite sökningar på internet leder
oss till ett band som heter Tangletown. Vilka är det? Ett altcountry-band
med en kille som heter Zimmerman längst fram. Ringer det en klocka? Seth
Zimmerman heter han, och är Robert "Bob Dylan" Zimmermans brorson.
Det börjar brännas, tyvärr är bandet kass.
Nu orkar jag inte leta mer, jag är ingen riktig musikjournalist och Minneapolis
ligger ju ändå såpass nära Detroit att det i princip är
skit samma. Minneapolis-scenen är död så vitt jag förstår.
Men The FEVERS lever.
The FEVERS spelar sån powerpop som var "retro" redan på
slutet av 70-talet då de flesta av frontmännen ur alla de punkakter
som splittrades i New York under den tiden sökte lyckan på egen hand.
Någon har sagt: "Är det retro så är det skit, är
det bra så är det en klassiker." Fast på engelska och
i ett mer välplacerat sammanhang så det lät bättre då.
The FEVERS är inte retro, precis som Strokes eller White Stripes absolut
inte är retro. The FEVERS är bara jävligt bra, och om de sedan
låter som The Boys eller spelar in en Small Faces-låt ("All
or Nothing") spelar ingen som helst roll. Musik har i alla tider sneglat
bakåt och kommer alltid att göra det, ingen har väl kommit på
tanken att kalla Dylan retro? Retro finns inte, det är snarare ett begrepp,
eller en genväg, för att beskriva sånt som låter gammalt
fast inte håller måttet, allt kass.
Ett nytt stycke nu, svårt att fokusera. Skivan klockar in på 26:39,
en alldeles ypperlig speltid för den här sortens musik. Jämför
gärna med The Hives och Nashville Pussys första skivor. Över
30 minuter är alldeles för mycket. Knappa 27 minuter glad powerpop,
inga ballader. Spår nummer sju, "Ooo that Kiss" är en klockren
radiohit. Den lär ni höra bara någon representant från
P3 råkar läsa det här, mycket troligt. Skriv till ert favvisprogram
och önska låten, men först kan ni köpa skivan. Köp
direkt via ALIEN SNATCH, tyskt bolag, vi gillar dom. Vi gillar FEVERS och dom
får en stark fyra i betyg. Hjälp oss att hypa det här bandet
nu men glöm inte var ni läste det först, då är allt
vårt arbete förgäves och vi blir mycket arga på er. .
(ACE)
NDW ZINE / BLOODY MARY RECORDS (Spain) DEC 2002 No sé si mi corazón va ser capaz de resistir tanta emoción. Yo ya estoy viejo para estas sensaciones tan intensas. Primero los FIRESTARTER y ahora los FEVERS han elevado mis pulsaciones, y me provocan una hipertensión, poniéndome al borde de una taquicardia con sus discos cada vez que los escucho. Si sufres del corazón mejor ni toques este vinilo porque puede ser lo último que hagas en tu puta vida. ¡¡¡ESTE DISCO ES UNA BARBARIDAD!!! Si oyes este disco y no se te pone la carne de gallina puede que seas un jodido zombie seguidor de Operación Triunfo. En su 7” de debut en Lipstick records demostraron ser capaces de grabar un disco pequeño sobresaliente pero este LP es una explosión de acordes, melodías, coros, ritmo, estribillos, energía como pocas veces se ha visto en la historia de la música en general y del power pop en particular. Este disco es un compendio musical que contiene retazos de grupos USA de chicas de los 60, grupos británicos beat de mitad de los 60 y combos de la new wave de los 80, todo ello aderezado con sabrosas pompas pegajosas de música chicle. Canciones como “C"mom my baby”, “Girl after girl” o “Born to be your baby” podían haberlas firmado los POINTED STICKS, PAUL COLLINS BEAT, REAL KIDS, RONNETTES, HERMAN HERMIT"S o SMALL FACES (hay una extraordinaria versión del “All or nothing”) pero las ha firmado un trío de Minneapolis (debe de hacer un frío de cojones a tenor de la foto de portada) que cuenta en sus filas con un señor llamado Travis Ramin que ya ha parido otras perlas en grupos como CANDYGIRL, SHORT FUSES o TINA AND THE TOTAL BABES y otros dos señores llamados Brian Hermosillo, guitarra, y Gavin May, bajo y con una voz expresamente diseñada y templada para el power pop, que proceden de otra maquina de hacer gemas musicales que se llamó RETARDOS (no los escandinavos, por favor) con varios singles en sellos como Radio X. Lo único que hay que echar en cara al trío es el titulo en holandés del LP, con lo bonito que suena en ingles por poco que sepas de este idioma: “GO WHERE THE GIRLS ARE”. Si este disco fuese un viaje lo harías en primera clase al mismísimo centro del power pop. El disco que todos los músicos sueñan con hacer. Un clásico inolvidable.(Paco "Plan B")
NDW
ZINE / BLOODY MARY RECORDS (Spain) DEC 2002 ¡Chispeante! sería
un buen adjetivo para calificar este disco de impronunciable título en
¡holandés! de esta banda norteamericana. Llamaron
la atención de propios y extraños en el pasado Las Vegas Sahedown
de 2000, interesando a la mismísima Tina Luchessi (BOBBYTEENS/TRASHWOMEN).
Ellos mismos reconocen que sus influencias giran en torno a bandas como REAL
KIDS, TEENAGE HEAD,, MANFRED MANN o The SMALL FACES. Se trata de un Power-Trio
con todas las de la ley. Sencillos pero correctos, sin perderse en virtusismos
ni excesos de produccion. Suenan en disco tal y como deben hacerlo en directo,
sin aditivos extra. Sin solos interminables de guitarra y sin abusar de los
coros. Simplemente tres tipos armados de lo más básico necesario
para hacer Power-Pop con cierto regusto sixtie. Como decían los YOUNG
FRESH FELLOWS: "Two guitars, bass & drums"..en este caso solo
una guitarra..jeje. Temas redondos como "Too early for your love",
"Love's getting better" o el magnífico "Ain't good for
you" entran en tus oidos con la facilidad de quien no busca más
que divertirte durante unos minutos hablando de los temas "trascendentales".
A saber: "Chicas, juerga...etc"... Melódicos, pero sin perder
el toque rocanrolero. "C'mon on my baby", "Girl after girl"
o "Ooo thath kiss" son buenas muestras de ello. Resolviendo con estilo
los medios tiempos: "Born to be your baby" o "Cry to me".
Escuchándolos se vienen a la cabeza nombre ilustres como The DECIBELS,
MODEL ROCKETS o los propios Fellows. Diversión y calidad a partes iguales.
De los discos que te sacan una sonrisa cuando los pinchas...y, es que, probablemente
esa sea su única pretensión al facturar álbumes como este...¡lo
que no es poco! Si el término no estuviese tan denostado, podríamos
decir que éste es un perfecto disco de Pop-Rock, sin mayores pretensiones,
pero tampoco debe pedirse mucho más a un LP de Pop-Rock ¿No? (Nacho
Thirdeye)
ARTIKCD.COM
(Spain) MARCH 2003 Espectacular
el debut de este trío californiano. Un total de once canciones, o mejor
dicho, once hits en potencia, que todo buen aficionado al power pop y a la música
en general, no debería dejar escapar. Buenos amigos de las BOBBYTEENS
y TINA & TOTAL BABES - dos de los grupos más destacados del más
fiestero y actual power pop yankee- The FEVERS, o lo que es lo mismo, Gavin
May al bajo y a la voz, Travis Ramin a la batería y coros, y Brian Hermosillo
a la guitarra y coros, estos chicos han conseguido fabricar uno de los discos
más tremendos y divertidos de lo que va de año. La razón
principal de la hazaña de estos californianos reside en la capacidad
para reciclar todo tipo de influencias, desde los insuperables REAL KIDS, FLAMIN`GROOVIES
o The SCRUFFS, entre otros, a influencias sesenteras de toda índole,
como certifica la impresionante versión del All or Nothing de los SMALL
FACES que se cascan en el disco-, y saber combinarlas con buen gusto y maestría.
Todo ello les vale para crear temazos de la talla de Love´s Gettin´Better-
canción que recupera de forma espléndida el mejor bubblegum de
los sesenta a lo OHIO EXPRESS-, Born to Be Your Baby- gloriosa combinación
de sabiduría melódica y energía-, o la divertidísima
Girl After Girl - tema ideal para el sábado por la noche-.Lo dicho todo
en este álbum de impronunciable nombre es bueno. Grandiosos estribillos,
tremendos pildorazos en forma de canción de dos minutos y poco, y clase
y saber hacer a prueba de bombas. Así que si todo esto que has leído
te convence y quieres agenciarte el disco, puedes hacerlo acudiendo a la página
web de ALIEN SNATCH! RECORDS (Xavi Sanchez Pons)