Frantic Flintstones

Published on 1 April 202415 July 2024

Reviews

Frantic Flintstones

Gavin “Chuck” Harvey was born in 1963. His interest in music was sparked by listening to bands like T-Rex, Slade, and The Sweet. At fifteen, he discovered Punk music, with The Clash having the most significant influence on him. The open-mindedness and genre-mixing of Joe Strummer’s band, including elements of Reggae and Ska, would later be reflected in the music of the Frantic Flintstones. They also covered songs like Jimmy Jazz and Bankrobber.
Harvey formed his first band, Mute, where he played bass, albeit not very well according to his own assessment. He then became the vocalist for a Punk/Surf group called What’s This Fish? After discovering the Psychobilly genre, he met Toby ‘Jug’ Griffin, the drummer for Coffin Nails, and this led to the formation of the Frantic Flintstones (initially named the Flintstones). The initial lineup consisted of Chuck, Rick (guitar), Clive Howling (bass), and Griffin on drums. After their first concert in October 1986, Chuck left What’s This Fish? to fully focus on the Frantic Flintstones.
In early 1987, Toby joined the Meteors and left the group, followed by Ric. Chuck then recruited Monkey Gunning, the drummer of What’s This Fish, and Neil ‘Nodger’ Smith. 1987 was a busy year for Chuck and the Frantic Flintstones, as they made a name for themselves on the scene. During this time, Ginger Jones replaced Howling on double bass, but his tenure was short-lived once Chuck met Gary “Gaz” Day. The bassist had advertised his services in Sounds after his first group, the Mysterons, disbanded. Chuck and Gaz hit it off immediately. This lineup (Chuck, Gary Day, Andy Gunning, and Neil Smith) marked the beginning of the group’s recording career.

Bedrock!

Raucous Records RAUC002 [1987]
Bedrock – Hot Head Baby – Let’s Go Somewhere – Sugar Daddy

In July 1987, the Frantic Flintstones entered the South Hill Park studios in Bracknell under the supervision of Mark “Swordfish” Hunt to record five tracks, including the four featured here and “Alley Cat King.”
All the elements that would define the trademark sound of the Frantic Flintstones were already present: wild vocals from Chuck Harvey, energetic slap bass by Gary Day, and simple yet effective guitar. The recording included three fast-paced Psychobilly tunes and a slower track, “Sugar Daddy,” to close.
A total of 1,500 copies were pressed: 1,000 with a printed sleeve and 500 with a white sleeve.

Frantic Flintstones – A Nightmare on Nervous

Nervous Records NERCD034 [1988]
Hellfire – Monte Carlo or Bust – 44 – Please Cool Baby – Oh Baby oh Yeah – Alley Cat King – Gone Gone Well Gone – Red Chevy – Ring ring ringin’ – What the Hell – Sugar Daddy – Frantic Flintstones – Safe Surf* – Shake Your Honey Maker* – Old Jack Joe* – Jack the Ripper* – Whisky Bottle Baby* [*CD bonus tracks]

After the success of their debut EP, Roy Williams of Nervous Records approached the Frantic Flintstones to record an album. The band reunited with Mark Hunt and recorded “A Nightmare On Nervous” in December 1987 and January 1988, with a release planned for March of the same year.
In a certain aspect, “A Nightmare On Nervous” can be compared to an early Johnny Cash album. By that, I mean these guys turned their weaknesses into strengths. With a guitarist who was far from a virtuoso, they built their songs around Chuck’s distinctive voice and a solid rhythm section featuring the powerful Gary Day on bass. However, some songs, though good, like “Sugar Daddy” and “Monte Carlo and Bust,” could have been shorter by a minute. Nevertheless, this album is full of classics with different styles: early psychobilly (What The Hell and Alley Cat King), neo-rockabilly (44, Red Chevy), and even a wild rockin’ blues (Billy Fury’s “Since You’ve Been Gone” renamed here Gone Gone Well Gone).
The CD version featured five bonus tracks, some recorded later with Gasty on bass: two covers played the Flintstones way, “Shake Your Honey Maker” and “Old Black Joe,” “Safe Surf,” a semi-instrumental (Safe Surf repeated a dozen times doesn’t count as lyrics, does it?), “Jack The Ripper” (not Screaming Lord Sutch’s song), and an excellent original “Whisky Bottle Baby,” previously known in a live version on the “Live & Rockin’” album.“, and an excellent original “Whisky Bottle Baby” previously known in a live version on the “Live & Rockin’” album.

Frantic Flintstones A NIghtmare On Nervous

Frantic Flintstones – Rockin’ Out

Link Records – LINK LP 051 [1988]
Rockin’ Out – What The Hell – One Night Stand – Hot Head Baby / Chuck Blows A Fuse – Rockin’ Bones – Let’s Go Somewhere (Rockin’) – No One Stays

The Frantic Flintstones had a successful first album, but it was too long. The following year, they returned with a new label (Link Records), a new guitarist (Jon “Pug” Peet, ex-Mysterons with Gaz Day), and a new mini-album. The shorter length (eight tracks) suited the group better. Surprisingly, the album opens with a Jazzy Fever-style instrumental with a muted trumpet, but something doesn’t quite match the atmosphere: Gaz’s overpowering double bass, which seems invested with a life of its own. The group quickly transitions into a new frenzied version of What the Hell. The future classics follow one after the other. The group has found its balance with this new lineup between Chuck’s rich voice, Gaz’s furious double bass, and Pug’s economical yet precise guitar. As the first side of the record ends, the listener barely has the strength to turn the record over, yet the group launches into Chuck Blows a Fuse, a furious instrumental. Three superb compositions follow, two of which were written during the Mysterons era (No One Stays and House Of Rockin’ Bones), and it’s already over. The Frantic Flintstones have an impressive discography, but this record alone would have been enough for Chuck and his band to make their mark in the Psychobilly genre.

Frantic Flintstones – Yahbahdahbahdoo!

KIX 4 U 2229 [1989]
Alley Cat King – Bed Rock – Hot Head Baby (2nd Version) – Let’s Go Somewhere – Sugar Daddy – Hot Head Baby (1st Version)

This mini-album contains the tracks from the first EP. It also includes a second version of Hot Head Baby, which is not very different from the first version. Additionally, it features the initial version of Alley Cat King, which was recorded during the same sessions. This version has a rawer, almost garage-like sound and approach. The band later refined the song for ‘A Nightmare On Nervous,’ resulting in the masterpiece we know.

Frantic Flintstones – Not Christmas Album

Link Records – Link LP 072 [1989]
Frantic – Wider Road To Hell – Honey Maker – Necro Blues – Oh Little Town Of Bedrock – Gone Gone Well Gone (Harp Mix) / Alone Again/Round Mountain – Just Because – Santa Bring My Baby Back To Me – Santa Claus Is Back In Town – Blue Christmas – Ole Black Joe

The year 1988 was coming to an end, and the Frantic Flintstones showed no signs of slowing down. With their new double bassist, Gasty from the Blue Ridge Rockets (along with Martin “Griz” Smith, also from the Blue Ridge Rockets on drums for some tracks), they went into the studio to record what would eventually become the “Not Christmas Album.”
The group expanded its musical range with the help of guest musicians, including saxophone, slide guitar, banjo, and harmonica. The album kicks off with a cover of Prince Buster’s “Madness,” appropriately renamed “Frantic.” The combination of sax and double bass creates an explosive sound.
The album alternates between slow, menacing parts and sudden accelerations, showcasing a return to top form for the Psychobilly genre with “Wider Road To Hell.” “Shake Your Money Maker” by Elmore James is transformed into a psychotic blues that perfectly suits Chuck and his band. “Necro Blues,” also recorded under the title “Jack the Ripper,” leans more towards the Rockabilly/Hillbilly side.
“Oh Little Town Of Bedrock” starts as a gospel song (“Oh Little Town Of Bethlehem”) before transitioning into a furious new version of “Bedrock.”
Chuck and his band then deliver a new version of “Gone, Gone, Well Gone” (originally Billy Fury’s “Since You’ve Been Gone”), which features an extended bluesy intro with a harmonica.
“Alone Again” begins slowly in a country blues atmosphere, accentuated by the slide guitar, before ending with a festive rendition of “Round Mountain.”
Next, the album features an excellent version of “Just Because” with saxophone. Still in a Presley mood, the Frantic Flintstones cover three Christmas classics played by the King, including an excellent bluesy rendition of “Santa Claus Is Back In Town.”
The superb and eclectic album concluded with “Ole Black Joe.”

Frantic Flintstones – s/t

Raucous Records – RAUC 009 [1989]
Old Black Joe – Alcohol Buzz / 44 – Just Because (HillBill)

This excellent EP was recorded with the same lineup as the one found on the Not Christmas Album (Chuck/Pug/Gasty/Andy). Old Black Joe, also found on Not Christmas Album, is a wild, Psychobilly version of the classic previously recorded by Jerry Lee Lewis, Crazy Cavan & the Rhythm Rockers and Demented Are Go(among others). Alcohol Buzz is more in a Blues/Rockin’ Blues vein, which allows Pug to perform an excellent and lengthy solo. The third track is a new version of 44, superior to the one recorded on Nightmare On Nervous. This essential EP closes with a “hillbilly” version of Just Because, on which Chuck takes his best Cousin Jody voice.

Frantic Flintstones – Live’n’Rockin

Link Records – LINK LP 098 [1989]
Alone Again – Round the Mountain – What The Hell -. Shake Your Moneymaker – No One Stays – Rockin’Bones – Necro Blues – Hang Ten – Bedrock – Old Black Joe – Gone Gone Well Gone – Playschool Baby – Just Because -. Whisky Bottle Baby – One Night Stand – Blue Christmas

The Live and Rockin’ series on Link was mainly a poorly recorded (and often poorly played) affair. One notable exception was the Frantic Flintstone live album recorded during the Rocking Out tour in November 1988. Despite being recorded just after the departure of ace bass player Gary “Gaz” Day(replaced by Gasty from the Blue Ridge Rockets), it finds the Flintstones in top form, playing classics one after another. The songs come from Nightmare on Nervous, Rockin’ Out, and, for the large part, Not A Christmas Album, recorded a couple of weeks after this gig.

Frantic Flintstones – The Nightmare Continues… Demonic Verses…Chuck’s Revenge

Link Records LINK LP 109 [1989]
Smack Smack – Dog Rip – Bone Rest – Twisted Retard – Rasppin’ Grasses – Burned ‘N’ Turned – Dustbin Case – Five Clawed Talon – Angel – Lost Love – Astral Cowboy – Waste of Life

After releasing a few high-end Psychobilly albums still very much influenced by Rockabilly and Neo-Rockabilly, the Frantic Flintstones released “The Nightmare Continues” in 1989. The album was recorded in June of that year and featured Andy Celbo on drums, along with Jon Peet and Gasty. The result was somewhat surprising. While Chuck’s distinctive voice remained recognizable, the entire album had a very dark tone. The heavy and powerful sound was supported by one or more distorted guitars, giving the impression that the Frantic Flintstones had merged with Demented Are Go. This overall sound was quite successful in blending Psychobilly Gothic with the style of the Frantic Flintstones. However, the length of the album made it somewhat repetitive, homogenizing the sound and making all the songs end up sounding similar.

Frantic Flintstones – The Raucous Recordings – Vol. 1

Raucous Records – RAUC LP003 [1990]
Bedrock – Hot Head Baby – Let’s Go Somewhere – Sugar Daddy – Alley Cat King – Ole Black Joe – 44 – Shakin’ – Alcohol Buzz – Hang 10 – Oh Baby Oh Yeah – Hot Head Baby – Phone Call – Raging Sea – B.M.X. – Just Because

This compilation includes some early recordings of the Frantic Flintstones. On the A-side, you’ll find the hard-to-find two EPs released by Raucous. This selection is complemented by Alley Cat King, recorded during the sessions for the first single, and Shakin’ (a cover of Shake Your Money Maker by Elmore James).
Side B is home to six live tracks. While the exact date and personnel for these recordings are unclear, they were likely captured at the group’s early stages. The sound quality may not be perfect, and the group’s playing may be somewhat rough. Still, there’s a unique aspect to these tracks: not only can you hear two rare songs (Gene Maltais’ Raging Sea and B.M.X.), but some seem to be played with electric bass, adding an interesting twist to the group’s sound.

Frantic Flintstones – Schlachthof Boogie Woogie

Link Records LINK LP 129 [1990]
Drugs in the Valley – Holy Sisters – Playschool Baby – Absolution – Endless Sleep – Hang 10 – Trips – Pantman – Breakout Mania – Gonna Miss Ya! – Sexy Red Number – West of London – The Race Is On – Legion Song – D.S. – Pantman

It is challenging to release multiple albums in a short time while maintaining consistent quality. The album Schlachthof Boogie Woogie, which was released in 1990, demonstrates this. While it contains some good songs, it also has a significant amount of filler. The album lacks coherence and suffers from the absence of a solid musical lineup behind Chuck and Jonny Pug. The tracks vary in style, ranging from the acoustic rendition of “Drugs In The Valley (Peace In the Valley)” to “Holy Sisters,” which recalls “The Nightmare Continues.” In between, there is another version of “Playschool Baby” (this time with fiddle, perhaps in an attempt to sound like Demented Are Go?), skabilly track “Endless Sleep,” tunes with a laid-back feeling like “Trips,” a massacre of a classic song (“The Race Is On”), and useless instrumentals like “Breakout Mania” or “Pantman” (aka Batman) with which we are presented in two versions. Not only does it lack coherence, but the execution is also uneven (e.g. the double bass on “Sexy Number” sounds very weird). One highlight is “West Of London,” an adaptation of John Denver’s “West Virginia,” but the group later recorded a superior version for “Cuttin’ A Fine Line.”

Frantic Flintstones – Well Gone In Europe

Kix4U KIX 3358 [1990]
Ole Black Joe – Alcohol Buzz – 44 – Honey Maker – Necro Blues – Gone Gone Well Gone – Let’s Go Somewhere – The Race Is On – Legion Song – Cryin’ Eyes (Country Mix – Broke Up (f/mushrooms Mix) – Endless Sleep (Skankabilly Mix)

The Frantic Flintstones released many albums often with the same songs. In the end, you keep wondering if you have another best-of of slightly different versions. This is what happens with “Well Gone In Europe.” Except if you’re a total and absolute completist, you can live without that one.

Frantic Flintstones – Take A Hike

Kix 4 U KIXCD3363 [1991]
Your Cheatin’ Heart – Dream On-Blue – Just A Dream – Sweet Nothings – So Sad – Little old Lady – Necro Blues – Burned’n’Turned – Rockin’ Bones – Frantic – Honey Maker – Gone Gone Well Gone – Blue Xmas – Santa Bring My Baby Back – Santa Claus Is Back In Town – Old Black Joe – Dream On-move

Even though the sound quality is quite good, this album is far from essential. Out of the 17 songs contained in this album, seven come from “Not Christmas Album,” three are re-recorded versions of Flintstones classics (Burned and Turned, Rockin’ Bones, Necro blues), and in the remaining seven new tunes, Dream On is featured two times (a slow one and a fast one). That said, the latest versions are excellent, the unissued tracks are great, the group is in fine form, and the Frantic Flintstones have released far worse than this album.
It’s a good album, but it’s more for completists.

Frantic Flintstones – Rockin’ With…

Rumble Records – GANG 011 [1991]
Tom Dooley – Gotta Know – Brown Eyed Girl – Therapy

Out of the four songs that constitute this EP, only Therapy is unissued, the other three being lifted from Cuttin’ A Fine Line. It’s a Doo-Wop tune with only Chuck, a vocal accompaniment by the band, and a light piano. You never know what to expect with the Frantic Flintstones, and that’s why they are great!

Frantic Flintstones – Cuttin’ A Fine Line

Rumble RUMBCD009 [1991]
Chilled bones – You’re the one who done it – Sweet Marilee – Jungle love – Time of day – You got me rockin’ – Tom Dooley – Gotta know – Brown eyed girl – Boneshaker baby – Slowly killing me – Don’t want you baby – Drug squad – West of London – Love me – Am I that easy to forget

Released at the dawn of the nineties for the German label Rumble Records (Scum Rats, Rockabilly Mafia, Punishers, etc.), “Cuttin’ A Fine Line” finds the band in superb form and marks the return of Gaz Day on bass with Rich Taylor on drums (Nitros), Pug still on guitar and of course the unmistakable voice of Chuck Harvey. This excellent album (one the very best ever released by the band) mixes classic psychobilly numbers (Chilled Bones, Don’t Want You Baby that features Gaz on lead vocals), blues (Time Of A Day), first-class rockabilly (You’re The One That Done It, Sweet Marilee, Gotta Know), skiffle (Tom Dooley) and some country songs like West Of London and Drug Squad that deals with one of Chuck’s favorite subject. The selection is rounded with two acoustic numbers (Elvis’Love Me and Am I That Easy To Forget), with only Pug and Chuck announcing their following album, the all-acoustic Skin Up, Chill Out, Just Buskin’ Through.

Frantic Flintstones – Skin Up, Chill Out, Just Buskin’ Through

Rumble RUMCD018 [1992]
Hello Marylou – Blue Moon of Kentucky – Will the Circle be Unboken – You Are my Sunshine – Tom Dooley – I Can’t Help it – Born to Lose – Goodnight Irene – It’s Hard to be Humble – Love me – Drugs in the Valley – Take me Home, Country Roads – I Gotta Baby – Am I That Easy to Forget

The only thing predictable with the Frantic Flintstones is that they are unpredictable. In this record, released initially on Rumble Records in 1992, the band, with only Chuck and Pug remaining, opted for an acoustic session. The mood is very laid-back, and the repertoire consists of covers of classic rockabilly and hillbilly tunes from artists such as Hank Williams, Mac Davis, John Denver, Ricky Nelson, Elvis, Johnny Cash, and The Carter Family. Although these are new versions, some of these songs have been recorded by the band before. This collection may not entirely represent the typical style of the Frantic Flintstones, but it is definitely a great addition to any music collection.

Frantic Flintstones – Flesh’n’Fantasy/My Woman Is A Leach

Tombstone Records – Tomb CD 2006 [1992]
My Woman Is A Leach – J.B. Boogie – Will The Circle Be Unbroken – So Close To Heaven – Out Of My Face – Lock Me Up – Fruit Batz – Don’t The Moon Look Lonesome (Lupo) – Sweet Nothings – Gone To The Dogs – Drugged Up Fool (Bonus Track) – Stiffies (Bonus Track) – Devils Rain (Bonus Track) – Fantasize – Fantasize You (Bonus Track) – Sub-Sic-Mental-Menial (Bonus Track) – Tom Dooley (C.D.B.) (Bonus Track) – Necro Blues ’91 (Bonus Track)

On this album, the Frantic Flintstones are Chuck, Pug, Jonny Bowler on double bass, and Rich Taylor on drums. You can also hear Gaz on three tracks from a previous session and Graeme “Captain Drugbuster” Grant.
The album starts with the excellent “My Woman Is A Leach.” After a neo-rockabilly interlude on the Rumble label, the Frantic Flintstones delve into more psychobilly sound, similar to The Nightmare Continues. This is followed by an instrumental that isn’t particularly original but showcases Jonny Bowler’s double bass skills. The next track is a rendition of the Country classic “Will The Circle Be Unbroken,” played over an almost Rocksteady beat. “So Close To Heaven” and “Don’t the Moon Look Lonesome” are two blues-tinged songs that highlight another, more demonstrative side of Pug. “Out Of My Face” is a typical Frantic Flintstones song, alternating between slow and fast parts. “Lock Me Up” is an unusual mix of Rockabilly and Samba on a House beat, which almost works, but the group abandons the track halfway through, leaving the rhythmic loop playing for too long.
The album continues with a pair of Psychobilly tracks (“Fruit Batz” and “Gone To The Dogs”) and a more Neo-Rockabilly tune, “Sweet Nothings.” Then, it moves onto a series of “bonus tracks.” The first is “Don’t Be Cruel,” transformed into “Drugged Up Fool,” which is neither original nor very good. More interesting are the three songs (“Stiffies,” “Devils Rain,” “Fantasize – Fantasize You”) on which Gaz Day plays and were produced and produced by Boz Boorer. These tracks represent the darker side of Frantic Flintstones, reminiscent of Nightmare Continues. “Sub Sic Mental Menial” is reminiscent of Demented Are Go (“One Sharp Knife”), with Chuck’s voice played backward. The album ends with “Tom Dooley” and “Necro Blues,” the latter coming from “Take A Hike.”
In the end, the album contains good songs, although none reach the status of the group’s classics. Still, “Flesh’n’Fantasy”/“My Woman Is A Leach” lacks the direction and homogeneity to rise to the rank of its illustrious predecessors.

Frantic Flintstones – Rock it Boy

Rumble RUMBCD024 [1993]
Marylou – You Call Everybody Darlin’ – You Ain’t Nothing But Fine – I Cant Trust Me In Your Arms Anymore – Carry Me Back To Old Virginia – Blues Stay Away From Me – Blue Moon Of Kentucky – Your Cheatin’ Heart – I’m Walkin’ – Sweet Baby Doll – Will The Circle Be Unbroken – So CLose To Heaven – Jimmy Jazz – Love For A Nutter – Broken Heart

Initially released in 1993, this is the third Frantic Flintstones album for the German label Rumble Records. And like “Cuttin’…” and “Skill Up…” it has a strong rockabilly flavor. The line-up for this one is Chuck, Pug, Johnny Bowler (Get Smart, Guana Batz) and Scag. Although the album lacks original songs, Chuck’s charismatic leadership and the solid backing band make up for it. The band covers songs by artists such as Jerry Lee Lewis, hence the presence of a piano, Ricky Nelson, Rockin’ Sydney, Johnny Burnette/Delmore Brothers, and Hank Williams. They also deliver an excellent rockabilly version of the Clash’s “Jimmy Jazz.” The album also includes different versions of previously released tunes, such as “Blue Moon Of Kentucky,” “Will The Circle Be Unbroken,” and “Your Cheatin’ Heart,” accompanied by backing vocals.
Additionally, “Love For A Nutter” is a demo recorded with Alan Wilson, foreshadowing the following albums (X-Ray Sessions and Jamboree) and the start of a fruitful collaboration.
However, Bowler’s lead vocal on “Broken Heart” is not among the Frantic Flintstones’ highest moments.
The album has been reissued on the British label Raucous Records with a slightly different cover.

Frantic Flintstones – Jamboree

CDMPSYCHO15 [1993]
Detroit Dirtbox – Love For A Nutter – Your Time Is Up – Mean Mean Woman – Diablo – Stay With Me – Sweet Georgia Brown – Lunatics (Are Raving) – Busted – Mindkill – (To The Devil)A Son – Oh 898 – Candyman – He’s Waitin’ – Sad N’ Lonely – Suspended – Chop-Chop, Slash Slash – Honey Child – Hey Chuck – Detroit Bloodbox

Produced by Alan Wilson of the Sharks, who also plays most of the guitar parts, with former bassist Gary Day back in the line-up, Jamboree is one of the three best albums the Frantic Flinstones ever made and probably the richest in styles approached.
Wilson is an outstanding guitar player and songwriter. His collaboration with Chuck Harvey is just perfect.The album features a variety of musical styles, from the surprising jazzy solo in “Diablo” to the country tune “To the Devil A Son,” and even a waltz in “Sad’n’Lonely”. It’s apparent that they had fun exploring various kinds of music.
The album also includes guest appearances. Detroit Donny plays harmonica on the bluesy instrumental “Detroit Dirt Box”, and on the cover of Roy Orbison’s “Candyman,” Sonny West plays some guitars and sings The Sonics’ “He’s Waitin’.” Wilson sings “Mindkill,” a song he co-wrote with Hodges. This song can be seen as the first song recorded by the Sharks reformation. It is during these sessions that Gaz Day convinced Alan Wilson to reform the group with him on bass.
The album features psychobilly, of course, with”Your Time Is Up,” which is reminiscent of “What The Hell” on their debut album, “Sweet Georgia Brown” (not the jazz standard), and the great “Love For A Nutter,” although I do prefer the rawer sounding demo version issued on “Rock It Boy.” Add a bit of rockabilly (“Honey Child” and “Mean Mean Woman”)
If you still wonder why the Frantic Flinstones are so great, just ask yourself who could sing a song about a psycho killer better than them, like a sixties pop ballad.

The Radioactive Kid

Sharks (the)

Published on 6 November 20206 November 2020

Reviews

The Sharks ‎– Phantom Rockers

Nervous records ‎– NERD 008 [1983]

Moonstomp – Skeleton Rock – It’s All Over Now – Crazy Maybe – Take A Razor To Your Head – Death Row -Love Bites – Short Shark Shock – Ruff Stuff – Phantom Rockers – Charlie! – Slipped Disc – I Can’t Stop – Electrifyin’ – Ghost Train* – We Say Yeah* (* cd only)

There’s a thin line between Neo-Rockabilly and Psychobilly. “Phantom Rockers” the Sharks’ debut album falls exactly somewhere between those two categories.
Their sound is closer to Restless than the wildness of the Meteors or the garage sound of the Ricochets. But the comparison ends here. While Rockabilly bands are happy to sing about girls and boppin’ all night, the Sharks embrace the Psychobilly idiom with a delectable pleasure. Their songs are about vampires, skeletons, ghosts (trains and rockers), and Charlie, a schoolboy who cuts the head of his classmates and family with a chainsaw.
The music is punchy and aggressive yet melodic and clean. Both Wilson and Whitehouse, who share the vocal duties, show a solid mastering of their instruments and a knack for writing songs that stay in your head.
In the end, it doesn’t matter if you call it Psychobilly or Rockabilly or whatever, you must own this album, that’s all you need to know.

The Sharks – First and Last Live

Nervous /Crazy Love [1988 – reissue 2002]
Rock The Joint ~ Pink & Black ~ Tired ‘n’ Sleepy ~ Teenage Boogie ~ Tear It Up ~ Wildcat Rock ~ Sugar Doll ~ We Say Yeah ~ Deathrow ~ Moonstomp ~ Ghost Train ~ Crazy Maybe ~ Buddy Can You Spare A Dime ~ It’s All Over Now ~ Phantom Rockers ~ Chainsaw Charlie ~ I Can’t Stop.

This album captures two shows. The first one has been recorded by the trio at the beginning of their career and the second is the last they played just before they split in 1983, hence the title. It’s mostly made for fans and it’s surely not the best album to discover this great and highly influential band. But it remains very interesting. You can hear a band of teenagers evolving from a good rockabilly cover band (the first show: well played but nothing too exceptional) into a tight psychobilly unit, this time with self penned material and a sound truly of their own.

The Sharks – Live In Japan

Crazy Love CLCD 64143
Deathrow – Bye Bye Girl – Cold Heart – Crazy Maybe – Dealer – Schitzoid Man – Love Bites – Morphine Daze – Side Show Freak – Between Two Worlds – Moonstomp – Surf Caster – Phantom Rockers – Charlie – Time Bomb – Ghost Train – Skeleton Rock.
The psychobilly scene counts very few solid live recordings. The reason can be found in the fact that the majority has been released in the mediocre Live’n’Rockin’ serie on Link records. But one can find some exception like The Meteors Live I, The Quakes’ Live In Tokyo, Long Tall Texans’ Five beans In The Wheel (though it’s half fake), Live’n’Undead by the Nekromantix and on top of the list : “Live In Japan” by the Sharks.  This live recording has been captured on tape in September 1998 in Nagoya and Tokyo, during a successful tour of Japan with the pair Wilson and Whitehouse (both on top form) and Carl Parry (guitar player for Frenzy at the time) on drums who replaces Hodge the original drummer.  The set spans the entire career of the band with “Phantom Rockers” taking the lion’s share. The trio gives a breath of fresh air – and even surpasses the studio recordings – to their classics like Love Bites, Charlie, Moonstomp and breathtaking versions of Skeleton Rock and Ghost Train. The songs from “Colour My Flesh” and “Recreationnal Killer” are well represented too here and the live gives a grittier sound than the well produced studio versions. There’s a spirit of sheer joy (even with songs about vampires, psycho killer, electric chairs…) all along this hour plus of tight musicianship (remember we’re talking about Alan Wilson and Steve Whitehouse) that is highly communicative. In the end it’s more than a great psychobilly album, it’s a great rock’n’roll album (that deals with kids with chainsaw, girls from Transylvannia and so on, okay I know).

The Sharks – Songs from the Sarcophagus

Western Star [2011]
She’s Fallen In Love With A Monster Man – Draculas Daughter – Jack The Ripper – Monster In Black Tights

We’ve waited for years for it. Here it is, at last, a brand new release from those neo-rockabilly/psychobilly masters.
This 4 songs vinyl ep is a tribute to the late Screaming Lord Sutch and who was more designed to do it than the Sharks and Joe Meek specialist Alan Wilson? They manage to give their own rendition of these classics while staying true to Meek and Sutch versions.
A total, definite and absolute must have.

The Sharks – Infamy

Western Star WSRC 057 {2012}
House of Wax – A Tornado Called Smith – Holloway Road – The King Of London – First Men On the Moon – Control – Ship To Shore – Hell Riders – I Can’t Believe You’re Back – Breakin’ Bones – Luck O’ The Irish – Desert Diamond – She’s Fallen In Love With The Monster Man

The Sharks are back! After a 15 year hiatus Alan Wilson (guitar, vocals), Steve Whitehouse (super sonic slap bass, vocals) and Hodge finally got together again to record a new album. I must say that I was a little apprehensive when I put the cd in the player. Could the band match my high expectations, after all they had released some of the best neo/psychobilly album made in the 80’s (Phantom Rockers) and the 90’s (Recreationnal Killer and Color My Flesh). Recently released material on compilation albums and an ep showed they were still in good shape, but could they make it on long distance? It took just one song to see all my doubts vanish. Not only the Sharks were good but they sounded better than ever, benefiting of 30 years of experience in term of producing, playing and writing songs. Most of all they managed to keep what make their identity and reinvent themselves in the same time. You don’t have a band of fifty year old men (or so) who run after their youth, trying to sound like they did in thirty years ago. They don’t come back by pure nostalgia but because they have solid songs to defend (mostly penned by Wilson with the exception of the First Men On the Moon co-written with Whitehouse and Lord Sutch’s She’s Fallen In Love With the Monster Man). Of course there are hot psychobilly numbers like House Of Wax (perfect opener with superb vocals from Whitehouse), A Tornado Called Smith (listen to this guitar solo, it kills!), Men On the Moon and Breakin Bones (already a classic alternating slow and fast parts). Next to this psychobilly gems you’ll find an instrumental mixing Surf guitar with Mariachi music (Hell Riders), 60’s country music with a Bakersfield feel (Desert Diamond), and a great tribute to Joe Meek in the form of a pop song (Holloway Road) featuring female backing vocals and Merv Pepler (Frenzy) playing some strange noises that would have pleased the producer of Telstar. Other real life character also have their own song like the notorious bare knuckle boxer Pretty Boy Shaw (The King Of london with plunking piano) and Ronald Biggs. That’s what I call a casting! More surprising is Luck’o the Irish sung by Doyley (Klingonz) with accordion and penny whistle for a full Pogues ambiance.
It was worth a wait of 15 years..
Comes in a nice digipack with lyrics included.

Sharks (the) – Space Race

Western Star Recording Company ‎– WSRC EP006 [2014]
Mercury Mission – Cosmonaut – Rockabilly Moonquake – First Men On The Moon (Queen Victoria Mix)
The Sharks recorded and released this space-themed 10″ mini-album in 2014.
Sung by Whitehouse, Mercury Mission is the most Psychobilly sounding of all four tracks. Knowing Wilson’s admiration for the work of Joe Meek, it’s no surprise to find a Telstar vibe in the following instrumental titled Cosmonaut.
On the b-side, there’s an excellent neo-rockabilly tune that you could easily imagine sung by the Polecats, whereas the Queen Victoria Mix of First Men On The Moon doesn’t add much to an already great song.
It’s a limited white vinyl edition.

Fred “Virgil” Turgis

The Gazmen

Published on 1 June 2020

Reviews

The Gazmen – Rigormortis Rock

Vinyl Japan JRT9 [1996]
Western Star [2020]
Rigormortis Rock – Teenage Operation – Kid From Mars – Ace Of Heart

This ep initially came out in 1996. The Gazmen formed around the charismatic personality of Gary “Gaz” Day. Day is known for his collaboration with many influential bands, notably The Frantic Flintstones, The Sharks, The Nitros, The Caravans without forgetting his stint with popstar (and rockabilly aficionado) Morrissey, whose influence can be heard on the last track of this ep. The rest of the band was basically The Sharks with the addition of ex Born Bad and Morrissey’s guitarist, Alain Whyte. They played a traditional brand of psychobilly close to the Sharks (not very surprising) and the early Meteors, Day’s voice reminding the great Nigel Lewis, but with a fuller sound. The song Rigormortis Rock was first released by Alan Wilson (who wrote it ) under the moniker of The Space Cadets (not to be confused with Mouse’s band) around 1984 on the Nervous compilation Hell’s Bent on Rocking. Some of these songs were also part of the set when Gary was in the Sharks. One can hear early versions of Teenage Operation and Kid From Mars on the excellent compilation Rare Psychobilly from the Vaults.
In 2000, the American label Rock-It re-released it on cd.
The vinyl version became an object of collection with both Psychobillies and Morrissey’s fans looking for it.
Western Star has now reissued it on 10” colored vinyl, but don’t wait to buy one it’s a limited edition
Available here.

Nitros (the) – reviews

Published on 23 November 201924 November 2019

Reviews

The Nitros – Nightshades/Stompin’ Beat

CDM Psycho 78 [2009]
Cat With 9 Lives / Deadly Nightshades / Saigon Baby / Misery / Crazy Crazy Crazy / Medusa / Get Off My Wagon / Well Now Baby / I’m Doing Fine / What’s Gonna Come Of Me / Stompin’ Beat / I’ll Cry Instead / Scrapin’ The Barrel / Crazy Little Thing Called Love / I Ain’t Mad / Gotta Pay / Rockin’ All Night / Dying Day / Devil’s Ship / Swingsville / Running Out Of Time / All I Can Do Is Cry / Midnight Special

This well-deserved reissue gathered the Nitros’ first two albums, only available on vinyl until now.
Tracks one to eight features their debut mini-album released on Link with the first line-up (O’Malley, Swain, Attrill.) It contains excellent modern/neo-rockabilly with powerful slap bass, some blues influences (Well Now Baby), and even a touch of Psychobilly (the dark Misery.) Most of all, this is the instant revelation of a talented guitar player mixing the influences of Cliff Gallup, Mark Harman, Carlo Edwards, and jazz players like Django Reinhardt to create his own style.
The following twelve tracks come from Stompin’ Beat, the band’s second album released on Nervous with Gay Day (Frantic Flintstones) on slap bass and Richie Taylor on drums. It’s another killer release, and though it lacks the freshness of their earlier recordings, it benefits of a tighter and cleaner sound. O’Malley also shows more of his jazz influences with the fantastic Swingville. The covers are very well chosen too, coming from the catalog of Queen (Crazy Little Thing Called Love), the Beatles (I’ll Cry Instead) and the Polecats (Rockin’ All Night.)
The last two tracks are bonus tracks (All I Can Do Is Cry, and the jazzy/Stray Cats influenced Midnight Special) that will be later recorded for their third album.
The booklet features a story of the band (written by yours truly), but more importantly, it also contains a lot of rare and previously not seen pictures of the group.
Too bad that, probably for license reasons, Anagram didn’t include songs like Echoes of Love, Destruction Road, Taxi Cab, Running out of Time, and previously released on compilation albums.

Fred “Virgil” Turgis

The Nitros - Something's Gotta Give! — The Nitros – Something’s Gotta Give!

Rockout NITLP001 [1993]
North’n’South – Love ‘Em ‘N’ Leave ‘Em – Something’s Gotta Give! – One For You – All I Can Do Is Cry – I’ll Get Mine – I Ain’t The Giving Kind – I Won’t Worry Any More – Big Sandy – What It Worth? – I Wrote My Baby A Letter – Midnight Special

The Nitros - North'n'South — The Nitros – North’n’South

Rockout NITEP001 [1993]
North ‘n’ South – I’ll Get Mine – Wrote My Baby A Letter – Midnight Special

The Nitros – Stompin’ Beat

Nervous NERD 049 [1990]
I’m Doing Fine – What’s Gonna Come Of Me – Stompin’ Beat – I’ll Cry Instead – Scrapin’ The Barrel – Crazy Little Thing Called Love – I Ain’t Mad – Gotta Pay – Rockin’ All Night – Dying Day – Devil’s Ship – Swingsville

See review of the cd release.

The Nitros – Nightshades

Link LINK MLP 062 [1988]
Cat With 9 Lives – Deadly Nightshades – Saigon Baby – Misery – Crazy Crazy Crazy – Medusa – Get Off My Wagon – Well Now Baby

See review of the cd release.

Rockout records

Published on 18 October 20192 June 2020

LABELS

Rockout records

Rockout records was a Rockabilly and Psychobilly label formed by Gary “Gaz” Day, bass player for the Gazmen, the Frantic Flintstones, the Nitros, and Morrissey.

7″

The Nitros – North´n´South – NITEP001 [1993]

10″ LP

Deltas From Fleetville To Vegas – NIT 007 [1995]

12″ LP’s

The Nitros – Something’s Gotta Give – NITLP001 [1993]
Paul Ansell’s Number Nine – Number Nine – NIT LP 002 [1993]
Frantic Flintstones – Ravin’ With The Lunatics – NIT LP 003 [1993]
The Caravans – Straightside – NITLP 004 [1993]
Carlos And The Playboys – Girls On The Loose – NITLP005 [1994]

CD’s

The Nitros – Something’s Gotta Give – NITCD001 [1993]
Blue Rhythm Boys – That ´Ol Blue Magic – NITCD 006 [1994]

The Nitros (neo-rockabilly)

Published on 23 November 20181 August 2022

Articles & Interviews/Profiles

The Nitros

Early Years

The Nitros story begins in 1984 when Mark Swain (double bass) and his cousin Jon Attril (drums) recruit John O’Malley “I met the band when I answered an advert in Melody Maker. Mark & Jon had advertised for a Rockabilly guitarist so I went along to the audition. It was at Mark’s house in Tottenham, North London. I’d been in bands since about the age of 12 but this was my first Rockabilly band with a proper stand up bass, I was about 15 at the time”.
O’Malley gets the place and the band begins to rehearse with its singer Gary Pudney. For the first time on stage together, they open for The Guana Batz but after a few gigs Pudney quits the band. He’ll resurface in The Griswalds, still as a lead singer. “I didn’t think he was right for the sound we were trying to get. He probably suited more of the Psychobilly sound when we wanted to be like Restless or the Blue Cats.” remembers O’Malley.
The remaining trio doesn’t look for a new singer and decides to carry on with O’Malley taking over the vocals duties. They record “Destruction Road” for Fury Records and “Taxi Cab” and “Echoes Of Love” for Katz Keep Rocking. In 1988 the band releases “Nightshades” their debut mini-lp on Link in the “Chuck Flintstone presents” collection. Mixing fast rockabilly tunes with O’Malley’s inventive and jazzy riffs and a bit of blues, this album is a true masterpiece. The ability of each of them to write originals gives this 8 songs lp plenty of diversity to please the listener like the bluesy “Well Now Baby”, the darker “Misery” and of course plenty of neo-rockabilly, all wrapped up with O’Malley’s inventive and impressive riffs, this album is a true masterpiece.
Sadly this line up doesn’t last long and this first incarnation of the Nitros splits in the late 80’s. “Jon wanted to leave as he had a few personal problems and Mark was losing interest so things just went down hill.” explains the singer “It was good while it lasted and we did quite few good gigs and released Nightshades so it wasn’t all in vain.” Mark will later form the pornabilly (sic) band “The Shocking Truth where he can still be found today.

Second line-up

That doesn’t stop O’Malley who keeps the name and the band going, this time with Gary “Gaz” Day on double bass formerly of The Mysterons and The Frantic Flintstones. They tried two or three drummers that didn’t fit the band, so Gaz called Rich Taylor “It went well so I got the job” . “When I got together with Gary and Rich it was like a whole fresh approach to what we were doing, they were more into the scene and the atmosphere in the band was better, it was more fun. Gary was and still is a great bass player and very enthusiastic towards what we were doing so the sound just got better” recalls O’Malley. The new Nitros secured a contract with the Sun records of modern Rockabilly, Roy Williams’ Nervous Records and go to the studio to record their second album, “Stompin’ Beat”, in 1990. This one features some great moments like “Devil’s Ship” or “Swingsville” a jazzy instrumental that shows O’Malley’s rich influences “I’ve always liked Brian Setzer, he’s great. I started off liking all the usual rock’n’roll guitarist like Cliff Gallup, Franny Beecher, Danny Cedrone and Scotty Moore, they still sound good today. As I’ve gotten older my tastes have widened and yes, I listen to a lot of Django , Oscar Moore and Danny Gatton to try to take some of there style. But my all time hero is Jimmy Bryant, he was so fast and clean, absolutely amazing without a doubt.” In his capable hands this mix is… well, explosive.
The choice of the covers is also particularly judicious with songs from The Polecats, The Beatles and Queen. And if “Stompin’ Beat” doesn’t have the freshness and the exuberance of “Nightshades” it benefits from a tighter rhythm section. But to achieve such a great result hasn’t been easy “Stomping Beat was especially a bit of a nightmare, the engineer was always stoned and couldn’t get anything done, in the end we had to get Pete Gage to take over and mix it, he kind of saved it.” Taylor completes “He was always looking for drugs, so we ended up trying to mix the L.p ourselves. Roy was not happy and we got Pete Gage to mix it.”
Around the end of 1991, John O’Malley was also a member of “Rabbit Action” featuring Phil Connor from the psychobilly band Skitzo on vocals, Mickey Wigfall on bass, and Paul Moxon on drums. “I’d known Phil from the early days of the Nitros, we used to be on the same bill together a lot and we became good friends. Phil is a great guy and I’d love to run into him again.” The band stayed together for a short while “but it just fizzled out”. In 1990 Gary went back to The Frantic Flintstones and brought Rich with him. Together they played on “Cuttin A Fine Line” (Rumble Records) and later “Jamboree” (Anagram). During this sessions, produced by Alan Wilson, Day suggested to reform The Sharks. He was drafted in on bass and recorded “Recreationnal Killer” in 1993. He also debuted his partnership with famous popstar Morrissey.

Colbert Hamilton

Still in 1993 the Nitros released its third LP on Day’s short lived label Rockout : “Something’s Gotta Give”. Another very good one, with Boz Boorer (Polecats and many others) in the producer’s seat. Mostly self written with the exception of Wayne Walker’s All I Can Do Is Cry and Bobby Roberts’Big Sandy this one goes from wild rockabilly to the jazzy “Midnight Special”. A guest singer is also present on four songs “Chris Harvey was with the band for about six months. A great singer but didn’t seem to fit in with our sense of humour. I haven’t seen him since he left the band, maybe he went back to Scotland.”.
The same year they backed Colbert Hamilton, the Black Elvis, on “Still Taggin’ Along”. “We met Colbert when he used to work in Kensington market. We had seen him perform before and thought he was great. We approached him and found out he wasn’t with any band at the time so we got him in and it went from there. Colbert is an amazing singer and front man, he really knows how to put on a show. The two CDs we did together were cool, he had a load of his old songs he’d never recorded and I’d written a bunch of songs so we put them all together and out came the 2 CDs”. O’Malley has very fond memories of the Japan tour backing Hamilton “It was great and we were treated really well, the crowds were just so into what we were doing, I remember me and Rich walking down the town and young Rockabilly kids stopping us to sign pictures and take our photo… Cool.”
In 1994, the band and Hamilton returned to Nervous to release Hamilton’s third lp “Wild At Heart” produced by Alan Wilson (The Sharks) and featuring covers of The Reverend Horton Heat and Thin Lizzy.(Hamilton collaborated with Phil Lynott). For Taylor and O’Malley “Wild at heart is the best one, I wouldn’t change a thing about that one”

The Nitros never officially disbanded but each of them got involved in other projects. Taylor played with Paul Ansell’s N°9, The Caravans, The Playboys and The Crazy Crocodiles. He also had a project with Dibbs Preston (The Rockats) called The Leopardmen. Day was busy with his own band The Gazmen, The Caravans and of course as bassist with Morrissey.
O’Malley joined the heavy touring band “Good Rockin’ Tonight”. They released numerous albums and his sparkling guitar can still be heard with them today. He also formed The Poker Dots in Spring 2002 with Zac Zdravkovic and Spencer Lingwood, a band inspired by The Platters, The Crew Cuts with a bit of Nat King Cole here and there.
When he thinks about his days in The Nitros, O’Malley says : “It was good fun and I’m glad I was a part of it. ”

“Something Gotta Give” is now out of print (sadly) but Nigthshades and Stompin’ Beat have been released on the same cd in 2009 by Cherry Red /Anagram. With three bonus tracks and a booklet full of rare photos, this is a must have.
If mp3’s are more your thing, Stompin’ Beat, Wild At Heart (with Colbert Halmiton) and the songs from Outrage vol 1 and 2 are available.

Albums
Nightshades – Link MLP 062
Stompin’ Beat – Nervous Nerd049
Something’s Gotta Give – Rockout Nit001
Nightshades/Stompin’ Beat CDM Psycho 78
with Colbert Hamilton
Cadillac Baby– Vinyl Japan JRT02
Still Taggin’ Along – Vinyl Japan JRCD05
Wild At Heart– Nervous Nerd076
Compilation albums
One track (Destruction Road) on I Love My Car – Fury Records
One track (Echoes Of Love) on Katz Keep Rocking Vol.1– Link
One track (Taxi Cab) on Katz Keep Rocking Vol.2– Link
One track (Big Sandy) on Twenty Blasters From Blighty– NV Comp1
One track (Running Out Of Time) on Outrage Vol.1– Rage 104
Two tracks (Midnight Special, All I Can Do Is Cry) on Outrage Vol.2– Rage 105
Three tracks (I’ll Get Mine, Teenager’s Mother, Something’s Gotta Give) on Five Inches Of Pleasure–

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