rhythm'n'blues

The Inmates – True Live Stories

Lolita 5012 [1984]
Sweet Lovin’ – Unchain My Heart – Love Me Two Times – Let’s Move – Heartbeat / The Walk – Shaking – Sister Sara – Dirty Water – Get Out Of Denver

In early 1982, the Inmates faced a crisis. Their album “Heatwave In Alaska” had taken a long time to release and turned out to be a commercial failure. As a result, the group found themselves without a record label or manager and in debt. Additionally, their drummer left the band. After recruiting Paul Turner as their new drummer through an announcement in Melody Maker, the band faced another setback. Bill Hurley’s already fragile health worsened, and he fell into depression, losing his voice. The band was now without a singer.
Realizing that Bill’s condition was not improving, Peter Staines (guitar), Tony Oliver (guitar), Ben Donnely (bass), and new member Paul Turner had to face the fact that Bill would need to be replaced. With Bill’s agreement, the band decided to find a replacement singer as they prepared for an upcoming tour to replenish their finances.

The Inmates selected Barrie Masters, from Eddie & the Hot Rods, a fantastic British group in the tradition of Doctor Feelgood but with a more pronounced punk touch. At the time Barrie joined the Inmates, Eddie & the Hot Rods had disbanded, with Paul Gray notably joining the Damned.
With Barrie’s arrival, the group lost its Rhythm ‘n’ Blues coloring but gained a more Rock ‘n’ Roll sound, sometimes tinged with pop. The Inmates then secured a contract with the French label Lolita (a subsidiary of the Evita label, which specialized in reissues of sixties garage bands). The deal involved a live record followed by a studio album.
Thus, at the beginning of February 1984, the Inmates recorded “True Live Story” at The Venue in London under the supervision of the excellent Vic Maile (who, in addition to the first two Inmates, produced – among others – Doctor Feelgood, Kursaal Flyers, and Eddie & the Hot Rods, that is to say, if we were on familiar ground).
The album starts off with a bang with “Sweet Sweet Lovin,” a perfect introduction. This rock ‘n’ roll composition by Peter was initially written for Doctor Feelgood, who recorded it on “Fast Women and Slow Horses” in 1982. While Feelgood’s version is excellent, the Inmates, with the help of Masters’ passionate and melodic vocals, completely reclaim the song. Any doubts about Barrie’s legitimacy within the group instantly disappeared.
They then continue with a fantastic cover of “Unchain My Heart,“ in an arrangement close to the version of the Undertakers, a Texan group from the sixties. The guitars are as aggressive as can be, the bass hums, and Barrie performs like hell. It then flows effortlessly into “Love Me Two Times,” the Doors classic. His voice is sometimes charming, sometimes desperate, and consistently superb. This is an opportunity to note the subtle work of Paul Turner on drums, particularly with the hi-hat. The song is so associated with the Doors that the Inmates’ performance is all the more admirable. Follows “Let’s Move,” a new composition by Peter. With this piece, the group approaches a more rockabilly repertoire. Even if it is pretty unusual and suits them a little less, the five rockers come away with honors, notably thanks to a superb guitar solo. Side A ends with “Heartbeat,” one of the band’s iconic tracks (so much so that the label asked for it to be included on the recording with “Dirty Water” and “The Walk”). Some may prefer Bill Hurley’s vocals on this track. But what the Inmates lose in vocal power, they easily make up for in devastating instrumentation, crowned by a magnificent bass solo.
We flip the record over and start side B with The Walk. If Bill’s absence could be felt, it’s on this track. This version is arguably the weakest moment on the record, but it’s quickly overshadowed by the almost perfect sequence represented by Shakin’ (written by Ben Donnelly) and Sister Sara (written by Peter Staines). Shakin’ sounds like a supercharged version of Peggy Sue, with Ben Donnelly’s bass being superbly highlighted by Vic Maile. After a surge of guitars and a drum break, we transition to Sister Sara, a pop-rock gem that is both melodic and tense. These two tracks seem perfectly suited for Barrie’s voice and are the standout moments on an album that is not lacking in them. The band’s signature track, the essential Dirty Water, follows. Even though Barrie’s voice is less angry and less Rhythm ‘n’ Blues compared to Bill Hurley’s, he performs exceptionally well. To say that the band is in top form is an understatement.
The album concludes in a grandiose manner (and I choose my words carefully) with a wild version of Bob Seger’s Get Out Of Denver. The song, strongly influenced by Johnny B Goode, had already been performed live by Eddie & the Hot Rods, so Barrie is comfortable covering it. With this track, the Inmates encapsulate the very essence of Rock‘n’Roll, its intrinsic purity and beauty. We experience the same sheer joy, devoid of calculation, which inspires young people worldwide to pick up guitars, form bands, and practice in a garage. Barrie completely throws himself into the performance and is nearly breathless, while Peter and Tony drown everything under a torrent of responsive guitars, supported by impeccable rhythm. The whole thing rushes like a train through the night and takes no prisoners. The album concludes, leaving the listener breathless and slightly dizzy, but eager for another round.
When listening to True Live Stories, we realize several things. First, the obvious: the Inmates deserve a more significant place in the Rock ’n’ Roll Pantheon. We also see that Barrie Masters was much more than a replacement; on the contrary, he knew how to bring his personal touch and allowed the Inmates to explore territories hitherto little frequented. We will also note Paul Turner’s all-too-brief stint within the team. His way of playing brings a different color, perfectly in line with the group’s repertoire at the time. Finally, we can never highlight enough the talent of Vic Maile, who succeeds in capturing the energy of Inmates. With True Live Stories, we probably have one of the best sounds for an album recorded live. When that sound is in the service of such a rocking’ machine, you can’t resist (or maybe you just don’t like Rock ‘n’ Roll).

Fred “Virgil” Turgis