I remember hearing The Jack Rubies on my local modern rock station, Eatontown, NJ’s WHTG. I liked what I heard a lot, but as I never found their albums I wasn’t able to explore further. But I never forgot about them, so I’m thrilled to hear their new one, Visions In The Bowling Alley, as much as their first comeback record, Clocks Are Out Of Time.

Lead vocalist and guitarist Ian Wright was kind enough to answer a few questions for me. 

Andrea Weiss: Who were you listening to while making the album?

Ian Wright: Viagra Boys, early Roxy/ Eno, Les Rita Mitsouko, Lemmy era Hawkwind, Desmond Dekker (and classic Jamaican vocal harmonies in general), Aldous Harding, The Andrews Sisters, Babyshambles, The Sensational Alex Harvey Band to name a few.

AW: I like the sense of doom that hangs over these songs. Or were you meaning something more positive?

IW: It makes sense that some of these songs have a bit of doom about them, tempered though, we hope, with some good old British satire. “This Is Not A Joke,” which kick started the writing process and kinda led the way to some extent, is very much a comedic exploration of wacky secret societies and cultish goings on. We hope some of that levity also runs through the other more conspiratorial tracks like “Are We Being Recorded?” and “Flying Machine.” And of course, there’s still time for a few pop songs too!

AW: In tone and form, I hear something like Depeche Mode with more guitars. Are they an influence, or if not, who did you have in mind?

IW: That’s interesting and perhaps in the right ballpark, though not really on our radar. We tend to gravitate toward artists with some jokes to counterbalance the angst: N. Cave, M.E. Smith, Moz (in the glory years of course), Edwyn Collins etc. We also really leant into the backing vocals on this record and featured instrumental textures from a number of guest players. The guitars are certainly there but we were interested in opening up the sound of the record with these added elements.

AW: The lyrics seem to be drawn from current events, especially in the US. Do you hate Trump too?

IW: The album was written and predominantly recorded during ‘24, before the US election, so perhaps there’s a case to be made for our prophetic abilities! Since we’ve reformed, subject matter for songs has to some extent been inspired by the complicated world we now live in - we’ve tried to channel some of the ominous energy in the ether, rather than just writing warped love songs - although we can turn our hand to that too! Some of the band are currently living Stateside, and the daily turbulence is exhausting to say the least.

AW: What’s the scene like in England these days?

IW: Politically, also a shit show - not turned up to eleven quite yet. Culturally and musically (perhaps in much the same way as when we were coming up in the late ‘80s), exasperation with the establishment and a feeling of edgy uncertainty can inspire good art. There’s some cool stuff around: The Tubs, The New Eves, The Puncturists, The Lovely Basement…

AW: I like the way you’ve updated late 80s and early 90s college rock and postpunk. Do you think that doing that helps to make the music timeless?

IW: We are a product of that era so it’s in our blood - the songs really come out the only way they can with our particular chemistry, influences and artistic abilities - it’s a porridge of our own making and if it seems to reference a certain musical memory, that’s just a by-product of our process. If it enhances the results, great!

AW: Is there anyone in particular you would want to work with?

IW: Mainly dead people unfortunately. John Parish (PJ Harvey etc.) has a nice touch in the studio. Or Mick Harvey? Maybe Jack White.

AW: Would you ever do any shows in the US?

IW: We have historically played in the States extensively, during our first run. With members now living in both the UK and US, there are logistical and financial hurdles to overcome to do a full blown tour. However, we are exploring ways to perform with available members augmented by guest players, and there are rehearsals in progress to that end, in support of “Visions…,” so stay tuned!

 The Jack Rubies

Visions In The Bowling Alley 

Big Stir Records

The second album from this long running London band continues their comeback, a worthy followup to 2023’s Clocks Are Out Of Time.

While there is still the same sense of doom running through the songs, you never get the sense that things are hopeless. It’s more like catastrophes will happen if something isn't done to stop them, presented in the most grumpy way possible. 

Some of this doom is political, like “Greedy” and “Are We Being Recorded?” and some is about relationships, like “Be Good Or Be Gone,” or “Boat Rocker.”

“Boat Rocker” is also the album's cheeriest song, and that cheer shows that things aren’t hopeless to them. You probably will feel the same if you pick this one up, and I absolutely recommend that you do, as this is the first great album of the year. If you have liked this band’s new run, or their original heyday in the late 80s and early 90s, check this out. Either way you won’t go wrong.  

Andrea Weiss

 I first heard the Gold Needles on a tribute comp to The Who, doing “So Sad About Us.” I liked the cover and sought out the band after that. I'm glad to hear Mood Elevator, since I did want more.

The band was kind enough to answer a few questions for me.

Andrea Weiss: For those who don’t know you, could you give a short history of the band?

Mark English: We formed in 2015 from the remnants of another project with a female singer. However, we have all known each other, and been in bands with each other, for a long time. Simon and Mark go back all the way to 1985!

AW: Who is in the band?

Simon Dowson - Lead and harmony vocals, rhythm guitar

Dave Burbage - Lead and rhythm guitars

Mark English - Keyboards, backing vocals

Carl Slaughter - Bass guitar, harmony vocals

Will Jones - Drums

AW: I like your melodies a lot. Is that what you strive for, melodies that 

are possible ear-worms?

ME: We’re all huge fans of The Beatles so finding melodies is second nature to us. If they develop into ear worms…even better! Earworms aren't necessarily things you 'strive for' but they seem to appear when the lyrics/chord changes fall in such a way that the earworm suggests itself...an act of synchronicity!

AW: I like your optimistic take on relationships too. Do you just want to 

write about that, and not how they can be bad?

ME: We do try to be positive but we’re not averse to writing about the negative as well. On previous albums “Realm Of The Black Dog” dealt with mental health and “Winning A Losing Game” concerned itself with a toxic relationship. Regarding the take on relationships I would say that the Gold Needles tend to take an objective and observational view on the game of love without being too judgmental. We aren't agony uncles and its both the rough and smooth that make the human condition. Our lyrics avoid being completely autobiographical but can border on semi-fact/fictional.

AW: What is the scene like in the UK these days?

ME: It’s hard for original bands to claim a foothold. Grassroots venues are closing at an alarming rate. Bands don’t get chance to develop over a period of time. Saying that, there are loads of great bands just waiting to be discovered.

AW: Are there any bands you recommend?

ME: Ming City Rockers, The Hellflowers, The Darts US, Low Coast, Sid Simons. All except the first, are US bands.

AW: Would you like to tour the US one day?

ME: Absolutely. We’d love to!!!

AW: I like that you can dance to the title song. Was that the idea going in?

ME: We wanted something up tempo and catchy. We had a lot of fun recording it and making the video. We didn’t set out to make it dancey but we’re pleased that you can.

 The Gold Needles

Mood Elevator

Big Stir Records

This really good album is chock full of ear worms, like “I Don’t Know About That,” “Turns To Gold,” and the instant classic “Pale Blue Silver Eyes.”

The title song is also one you can dance to, and I like the subtle use of synths. “Supernature” is about just that--how everyone’s nature is super--and is also metaphysical.

While the songs are about romantic ups and downs, it’s mostly ups. “Pale Blue Silver Eyes” is a happy love song, as is “I’ll Take My Chances,” with one cautionary tale, “Eleven, Eleven.”

So if you want direct, clear, unpretentious pop/rock, you’ll really go for this band. It will also make you think. It’s always good when an album can do double duty like that.

Andrea Weiss

 It was 1988 when I went to the Trade Winds to hang out with some friends. It was a nice club, very neat and clean. I never saw any bands there, but I can imagine how that must have been. But I was a WHTG fan, so I did hear the Bongos. I liked them a lot and still do.

Richard Barone was kind enough to answer a few questions for me.

Andrea Weiss: For those who don’t know you, can you give a short history of the band?

Richard Barone: The Bongos were formed by three guys who loved music at the cusp of the 1980s, as the new decade began, and as the alternative, college rock movement was just beginning. There was no network yet for indie rock, just a handful of new bands in a few pockets around the country. Athens, Georgia, was one of the first, and The Bongos, and the music scene we helped create around our home venue of Maxwell’s, was another. Through making music videos and being signed to British label Fetish Records, we were able to tour, soon joining the B-52s on the road for their first (and our first) major U.S. tour. Signing with RCA Records gave us wider recognition here in the States and bigger tours. By the time MTV put our videos and our peers’ videos in rotation, what had started as an underground movement became practically mainstream. But, from the beginning, our roots were in indie rock and the DIY ethos.

AW: Who’s in the band?

RB: The Bongos were founded by me [Richard Barone; guitar, vocals], drummer Frank Giannini, and bassist Rob Norris. After our first album, we added James Mastro on second guitar.

AW: Who were your influences?

RB: Our influences are many, and each of us in the band has his own. For instance, the music we grew up with, like the Beatles and the Velvet Underground, David Bowie, T. Rex, Buddy Holly, Donovan -- the music that came later like Brian Eno, Talking Heads, Ramones, Patti Smith, Television -- and whatever was happening at the moment with our friends like The Feelies, the Bush Tetras, many more. The Bongos are also music fans and record collectors, so we are influenced by a lot of different artists.

AW: Could you tell us more about the concert here -- what club, the date, and so on?

RB: The Shroud of Touring: Live in 1985 was recorded during a 300-show tour in 1985, following the release of our second RCA album, Beat Hotel. The shows were sounding good, and wild, and we thought it would be a good idea to record one. Steve Scales, percussionist with the Talking Heads, had joined us on the tour, making our sound even more percussive than it already was. We had a day off on May 24, 1985, which was Memorial Day weekend, and we decided to add a show at the Trade Winds in Seabright, New Jersey, on the Jersey Shore, for the express purpose of recording a live album. We knew the audience would be psyched for the concert as Memorial Day was the unofficial start of summer. At the time, the Shore was an area of great support for The Bongos and home of alternative radio station WHTG, which presented the show. Because we had just released the Beat Hotel album, and then went directly into the studio after the tour to make our "final" album Phantom Train, Shroud was not released and stayed in the RCA vaults for forty years. The songs here have a lot of wonderful energy.

AW: Were you known for upbeat shows?

RB: The Bongos were always a highly energetic live band, and the studio albums could never replicate what we did in front of an audience. So, this album has always been the missing link in our catalog. It completes the story and shows a little more of who we are.

AW: Do you hope this album stirs up interest in the band?

RB: We're always happy when people discover The Bongos and find something they like in our music. With The Shroud of Touring, people are given the opportunity to step into a snapshot -- a moment in time -- and experience a live Bongos performance in the middle of a decade that spawned a new kind of pop culture. The Bongos were always a unique band, walking our own path -- a fine line between almost Beatlesque pop song structures and tight harmonies and the total, wild abandon of Iggy Pop and the Stooges, and this album captures us walking that tightrope, without a net, in front of an audience that was more than ready to catch us if we fell.

 The Bongos

The Shroud of Touring: Live in 1985

Jem Records

Recorded on May 24, 1985, this show sat in the vaults until now. (More of the story in my companion interview with Richard Barone).

They were great live – fun, high energy, letting it all hang out some very quirky pop that sounds like no one else, then or now. While I don’t want to go on about the good old days, I don’t hear many bands today that sound this original, even among the many, many great ones.

There’s also an innocence to this music, a coming of age type, that I also don’t hear much of now. Anyone can come of age at any age, and that’s a big reason why this band is so relevant today.

But don’t take my word for it. Get this album, put it on your media player of choice, and see what you think. You’ll have bought, at the very least, a great album, and if you do agree with me, seek them out and other bands from that scene. You’ll have blast doing so, and hear a lot of good music.

Andrea Weiss