Back in the 1980’s I was fortunate enough to have a very good commercial modern rock station, WHTG FM. The station is long gone, but is remembered now for giving Matt Pinfield of 120 Minutes his start, and for being the first above ground modern rock station to play Nirvana before they got huge. I heard the Jack Rubies on this station, as they played everything. I didn’t buy their albums at the time, though they were great, and now I get a chance to remedy that. If you’re in this situation, I recommend you do the same. You’ll hear some good music.
Ian, vocalist with the band, was kind enough to answer a few questions for me, and I agree with him about The Last Dinner Party.
Andrea Weiss: For those who don’t know you, can you give a short history of the band?
Ian Wright: Emerging from the UK’s C86 scene, the Jack Rubies formed in East London, England, with Ian Wright on lead vocals and guitar, SD Ineson on backing vocals and guitar, bassist Steve Brockway, percussionist Lawrence Giltnane, and Peter Maxted on drums. The Rubies debuted with mini album Witch-Hunt in Lotusland (1986), followed by a run of acclaimed UK indie singles. They went on to sign with New York’s TVT Records and released two albums on the label - Fascinatin’ Vacation (1988) and See The Money In My Smile (1990). The band toured extensively in the UK and the States until the early 90s. Now, after decades of silence, the Jack Rubies have reformed with all original members and a new album, Clocks Are Out Of Time, for release February, 2024 on Big Stir Records.
AW: Who are your influences?
IW: Musically: the artsier end of UK 70s Glam, Bowie in all his iterations. Wire, The Bunnmen, Buzzcocks, The Fall, Nick Cave, Serge Gainsbourg, 50s Country, Elvis, 70s Folk Rock, John Barry, Scott Walker, The Sherman Brothers. Culturally: Hitchcock, Warhol, Doctor Who, Michael Caine, Peter Sellers, Marcel Duchamp, John Fowles, Stanley Kubrick, Brian Clough.
AW: How do you think your music has changed since the 80s and 90s?
IW: Outside of production gloss, our music from the 80s/90s sits easily with the new material. Although it’s interesting to note that back then songs were first thrashed out in rehearsal or at sound checks, and gradually refined through performance. Since Clocks was created in large part remotely, it was more like assembling a collage, and perhaps that informs the new sound. It feels like a modern take on the vintage band, which was not contrived at all - we’re the same people and the music just comes out the way it does when we collaborate.
AW: What do you think of today's indie/college rock/power pop?
IW: I think it’s pretty healthy. There are a lot of new things I like, and older too. Music appreciation has ceased to be ageist, which we of course are in agreement with! After all, maturing artists, actors, and writers can all thrive and do their best work, so why not musicians too? Current listens off the top of my head are Polyvinyl, Spiritual Cramp, the new Dexys album, and I love The Last Dinner Party.
AW: What do you start with, music or lyrics? Melodies or rhythms?
IW: There are no formulas. Songs can emerge via any route. It is rare that I have a complete lyric before any music, but it has happened. Singing a gibberish vocal melody over a simple tune is a more likely starting point.
AW: What topics do you tend to write about the most?
IW: My lyrics can be kick-started by a chance phrase or scrap of conversation. I’m constantly noting down bits and pieces of verbal gold, which may inspire a stream of narrative. Our drummer, Max, mentioned an absurdist cult from the 1950’s that I wasn’t aware of, and this inspired our latest new song, which is in the pipeline. So, it can start with anything.
AW: Even as your band dates back to the 80s and 90s, there will be those who will think you’re new. Do you hope your original audience returns, and that you hook new fans too?
IW: Certainly when we dipped our toe back in the water with a self-released track or two, before signing to Big Stir, we were delighted that our new music was welcomed by old fans and new listeners alike. We hope new fans will gravitate to the back catalog via the new album, and since our two original albums are just back in print again and freshly remastered, thanks to Big Stir Records, old fans who seek those out will hopefully want to explore the new record too.
AW: What would you tell someone just starting out in music?
IW: New artists today should, and can, retain as much of their DNA, rights, and control as they wish and work independently, or find a scrupulous label who will work as hard promoting their music as they do creating it.
The Jack Rubies
Clocks Are Out Of Time
Big Stir Records
This is their first album since 1990’s See the Money In My Smile. That and their first album, 1988’s Fascinatin’ Vacation, are great, as is this new one.
The band still has the knack for writing dark, disturbing lyrics, but which are so sensible that they put everything in a balanced perspective. That makes them insightful, not overly dramatic, and that’s welcome. It’s so easy to go the other way, as so many bands have. The Jack Rubies are wise not to.
There’s a bit less jangle on the new album, but the guitar playing is as sharp as ever, so it’s not missed. It's just a more updated sound, while the band has still stayed true to their roots.
College rock/pop still has a lot to say and play, and if you want to hear what the scene sounded like, if you’re new to the genre, this band is a good place to start. Old fans will welcome them back too, making for a band that landed on their feet after years of silence.
Andrea Wessi
Jim Basnight
Summertime Peculiar
Power Popaholic Productions
The latest album from this long running Pacific Northwest musician finds him still getting a mother lode from power pop – from old songs that sound new and brand new songs.
The album grew out of a 1995 children’s theater piece he co-wrote, named “Little Rock,” which played all over the US, and which The Seattle Times awarded Best Children’s Theater Event of the Year for 1995.
This album is also is something of a musical novel, the song lyrics portraying the characters in scenes from it. There are also nods to Alex Miller AKA Sonny Boy Williamson II, about whom Basnight wrote a book.
In all these ways, it does work, whether he’s playing the blues, playing songs like “Riding Rainbows,” which absolutely could be for kids, or the very novel-like song “Elma,” about being stuck in a small town with no way to leave and being sarcastic about it.
Both “Elma” and Rainbows” are old songs, but the addition of horns and strings makes them new again, and a delight to hear, as is the album as a whole. New songs like ”The Heart” are for grown-ups.
The supporting cast of musicians and guest vocalists, especially Suze Sims on vocals, really shines, and it’s easy to imagine this ensemble on stage playing these songs very well.
Every time someone stretches power pop it just shows how versatile and enduring it is. This album is a lot of fun, rocking little and big, and just a real joy to hear.
Andrea Weiss
