"Brilliant"
review in Big Takeover Issue #52 by Corin Ashley, Monday December
8, 2003
Starting off in Syracuse, NY in 1977, these proto-power-poppers released the
seminal compilation favorite "Christi Girl" and shared bills with
The Jam, Police, Ramones, and Romantics before splintering in the early '80s.
After a successful reunion tour in Japan, they are back with their first batch
of new recordings in 20 years, produced by Ramones/Smithereens knob-jockey
Ed Stasium and Ducky Carlisle. The CD sounds as one would expect; state-of-the-art
1978 power-pop with thick guitar riffs, Byrdsy melodies, and lyrics about
girls. Opening with a cover of Eddie & The Hot Rods' hit "Do Anything
You Wanna Do," The Flashcubes plow through 13 tracks of all that is poptastic.
The highlight is the Kinksy riff that starts "When We Close Our Eyes."
As an old producer of mine would have said; "Yeah, now just keep doing
that part."
Boston
Phoenix review: From Liverpool to you - International Pop Overthrow comes
to Central Square by Brett Milano, November 21 - 27, 2003
PROTOTYPE: the Flashcubes were around before power pop became a movement
Power-pop
bands come in all shapes and sizes. They embrace different styles. In fact,
they have only four things in common: John, Paul, George, and Ringo.
The Flashcubes were around before power pop was a movement. Originally based
in Syracuse, they were one of many bands who caught the power-pop bug in the
late ’70s, had a blast for a few years, then split up by the turn of
the decade. And like many bands of their era, they got more famous after the
fact: their one and only single, "Christi Girl," was included on
the Rhino label’s power-pop compilation Come Out & Play (1993).
A British Invasion–style ballad, "Christi Girl" features jangly
R.E.M. guitar years before that band formed. And it sits comfortably next
to the better-known classics on the compilation — among them the Flamin’
Groovies’ "Shake Some Action" and the Real Kids’ "All
Kindsa Girls." Two years later, Goldmine magazine did a feature on the
Flashcubes and they became official cult heroes. They’ve been doing
on-off reunion gigs ever since, joined sometimes by Ducky Carlisle —
a friend and soundman from the Syracuse days, now a prominent Boston producer.
"I have no idea how it [the band’s revival] happened, but I’m
glad it did," guitarist Paul Armstrong tells me. "The band started
because we were all record collectors who worked at the same chain of music
stores in upstate New York. We did pretty well back in the day; we were pretty
big in Syracuse, started playing all over the place, and we had people talking.
But we were all in our early 20s, so we were pretty young and stupid; we never
got it together and moved to New York [City] like we should have." Armstrong
moved to Boston instead; he’s been in town since 1983 and has led the
bands 1-4-5 and the Richards.
The Flashcubes have taken better care of business the second time around,
releasing three CDs: a live disc, an anthology of the old tapes, and a new
studio album, Brilliant (out next year on Northside). Last Christmas, they
were picked to open a New York show for current buzz band the Star Spangles.
They’ve even been accorded the ultimate power-pop honor: getting big
in Japan. After meeting some Japanese promoters at a previous IPO, the Flashcubes
went over and played some well-received shows — not quite at Budokan,
but at a couple of 500-seat clubs in Tokyo.
"It’s all happening because of ‘Christi Girl’ —
all the record collectors keep finding out about that song," Armstrong
says. "And it wasn’t even typical of what we did — we did
the occasional minor chord, but we were really a punk band that dabbled in
power pop. We still live in different locations, so it’s not a full-time
gig at all. It feels like it did when we were young — the band’s
a little club you have where you get to hang out with your buddies."
Being in a revived pop group has other advantages. Armstrong recalls sharing
a recent Chicago bill with members of that city’s obscure pop heroes
Pezband. "I go to the bathroom and realize I’m standing right next
to [bassist] Mike Gorman. And I’m thinking, ‘Wow, here I am taking
a leak right next to someone from the Pezband!’ "
Audities Pop List, December 2002
In the world the Flashcubes inhabit, it is always 1979, and that too is groovy! Just
energetic in-your-face catchiness from beginning to end. Highlights for me
are "Natalie" and their rousing cover of "Do Anything You Want
to Do." Listening to the latter was three and a half of the greatest
minutes of my life.
Carl Cafarelli, WXXE - FM, December 2002
The new studio album, BRILLIANT, fulfills The Flashcubes' promise, delivering
the giddy excitement of a live 'Cubes show, with the added essential oomph
that characterizes the greatest rockin' pop records. This is how The Flashcubes
have always sounded inside our heads, and it's SUCH a thrill to hear a CD--TWO
CDs!--that sound the way The Flashcubes are supposed to sound. THIS is why
we love 'em!
Syracuse Post Standard (Mark Bialczak),
January 2003
The baker's dozen of original songs carries an edge worthy of their punk heroes,
such as the Ramones. They also are full of melodic hooks worthy of their pop
favorites, such as Badfinger and the Raspberries. Frenay, Lenin and Armstrong
ably split the lead-singer role and obviously take pleasure harmonizing, too.
As always, Lenin's guitar work is world-class, and Allen keeps the speed revving.
Put it on when speed's the need, rock's the rush, harmony's the cherry on
top. Brilliant proves that Arty Lenin, Gary Frenay, Paul Armstrong and Tommy
Allen got older AND better!
Pop Culture Press (Bill Holmes), March 2003
Brilliant is an apt description..... a record that captures their intensity
and smart pop chops. All four are at the top of their game. Gary Frenay and
Arty Lenin - the harmony and melody of the band - continued to sing together
after the band's original demise, and their seamless harmonies can stand alongside
anyone. Guitarist Paul Armstrong is the rough sandpaper edge for counterpoint,
while Tommy Allen is rock-solid supporting everyone else. Lenin's "We
Close Our Eyes" is pop bliss, as is "Catherine" (which sounds
like The Searchers playing Dylan). Frenay's "Natalie" and "You
Got My Promise" are just two more entries in the book of one of America's
most overlooked songwriters and Armstrong dips his guitar in Chris Spedding's
blood for "Stalk", the album's most dynamic rocker. The Flashcubes
are intact, energized and better than ever. The world wasn't ready for them
in 1977, but now they have a second chance to see one amazing band strut their
stuff.
All-Music Guide (Tim Sendra),
March 2003
In the year 2002, the world was not exactly clamoring for a new record from
70's power poppers the Flashcubes ; they had no hits and were known to only
the most in the know power pop aficionados. Their main claim to fame was the
appearance of "Christi Girl" on Rhino's DIY series. That being said
this is actually a pretty good live record. The group sounds like they are
having a great time (there is no doubt the band were loving the adoration
the crowd was giving them), the songs are catchy and energetic and the sound
is clear and not too raw. It was recorded in Tokyo in 2002 and features mostly
self-penned songs from the 1970's along with a cover of the Flamin' Groovies'
power pop standard "Shake Some Action" (on which they acquit themselves
quite well) and a medley of the Ramones' "I Wanna Be Sedated" and
Nick Lowe's "Heart of the City" . The lead vocals are slightly ragged
and the group harmonies aren't very tight but they are both perfect for rock
and roll. The highlight of the record is their near hit "Christi Girl"
but the rest is good as well particularly the driving "When We Close
Our Eyes", the aching "Cherry's World and their faithful and fun
cover of Eddie & the Hot Rods' great anthem "Do Anything You Wanna
Do". The record drags a bit in the middle due to too many songs with
similar tempos and some of the songs are a little too jokey, but unlike most
bands that make a comeback like this the Flashcubes sound like they never
missed a beat. If you can't track down the collection of original Flashcubes'
recordings that was released in the mid-1990's and don't mind paying a bit
of money, this is a nice artifact of an era gone by made by a band for whom
time has seemingly stood still.
Review (Pat Pierson),
August 2003
This is what most
of us would call a come-back, although it's not your typical text-book example.
And some of us have rose-colored memories etc. And how this all hits us in
2003 is quite weird, but exciting nonetheless. First off, this is finally
the first time The 'Cubes have recorded a legit full-length from start to
finish since their inception in 1977. (The 1997 collection, Bright Lights
was a majority of their early demos and some new tunes.) And stranger still
is the fact that this "reunited" combo has been at it since the
summer of 1993 (after a 13-year "hiatus"). Not necessarily steadfast
in trying to recapture old glory although their stellar live performances
are just that the 'Cubes' raison d'être has been a melting pot of emotions
fueled by artistic growth expectations and the simple fact that these four
guys together make a specific slice of power pop that's rarified and magical.
It truly transcends words. I mean, shit, wouldn't you go back to what you
thought was the greatest thing you've experienced, if you could? And so you
have Gary Frenay, Arty Lenin, Paul Armstrong and Tommy Allen messing around
with their inherent alchemy.
Weird how it works like it did in the old days. But here goes... The studio
disc, Brilliant, does, indeed have its moments of brilliance, and its low
points as is per usual for the 'Cubes and their song-writing democracy. But
to leave out the low points is to miss the point in some twisted way. I've
always grown accustomed to Paul Armstrong's fleeting moments of rock nirvana
and sometimes sub-par trash. It's rock and roll warts and all. Armstrong's
"Pathetic" is the greatest song he ever wrote and is quite possibly
the strongest homage to the New York Dolls in the 21st century. Think of it
as "Private World" revisited. And the band rips like a mo-fo on
it. A pinnacle of sorts. On the downside is "Stalk" and "Bad
Dream," although the latter sequels nicely on the verses and the band
once again, plays like an NYC punk/glam dream. This brings us to the Frenay
and Lenin material, which has always been less problematic. In truth it's
usually what they leave out that makes one upset. I won't go into my quibbles.
Both, Gary and Arty's songs work strongly and cut deeper with repetitive spins,
something I didn't see as a given once this disc was done. For Arty's sake,
he's donated the disc's power pop pies-de-resistance, "When We Close
Our Eyes," which conjures up all the urgency and sprung creative verve
this band has always been a godsend for. His other contributions ("Catherine,"
"You're Not Grounded" and "Nothing Really Matters When You're
Young") are all top-drawer, the latter only missing slightly from its
original (via Screen Test) incarnation's blam-blam. "You're Not Grounded"
is prime Arty, a bit quirky and lyrically intriguing.
Something which keeps the band's boundaries further out than your usual pop
suspects. "Catherine" is something a bit tailored out of range,
but tied together with a rootsy vibe. Good. Gary Frenay has always worked
as the band's Paul McCartney to Arty's "Lennon." All of the tunes
included do just that; they give the disc its main melodic focus and most
universal pop statements. Both, "Natalie" and "You've Got My
Promise" show he's still got the spark that ignited his pop muse back
in the late '70s. Strong, slightly complex structures make them avoid mere
pop-dom and give them shelf-life. Again, the band's performance takes it up
a notch. "I'm A Mystery" is a mid-tempo number which slightly misses
the mark this band is capable of hitting. More time and a bigger budget and
it could've been godhead, as is the case with Frenay's other great pop stroke
from his Screen Test days ("Make Something Happen"). Neither tracks
are anything to shrug off due to Frenay's pop tenacity. It's just that once
you know what this band can pull off, you'll know how great it can be. Thusly,
we've left out the disc's crowning achievement; that being the ballsy opening
cover version of Eddie & The Hot Rods' "Do Anything You Wanna Do."
This is how GREAT they are and, if there's ever been a studio recording which
has captured the band's intensity and glory, this is it. Pushing the tunes'
original concept further, The 'Cubes glitterize the song with fat guitars
and drums that give it a new swagger. Brilliant indeed. About how great it
can be: Live In Japan: Raw Power Pop is an amazingly strong live performance
of The 'Cubes at their most incendiary. Recorded in Tokyo back in May of 2002,
this 15-track disc captures (as closely as possible) the true edge and fire
of the band. From the 1-2 pop manifesto intro of "No Promise" and
"Girl From Germany" to a ripping "Pathetic" and "I
Need Glue" to the only released 'Cubes version of "Cherry's World"
(arguably Arty's greatest power pop song), it's a definitive representation
of the boys from Syracuse, New York, albeit from the other side of the planet.
Fitting how this allows for the listener to hear kids screaming when nuggets
like "Christi Girl" and "It's You Tonight" are performed.
I wouldn't want it any other way.
P.S. Did I say that Tommy Allen is my favorite power pop drummer of all time?
