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
Here is my 2023 Top Un-Ten. Why is mine different? Because it’s damn hard to be successful at music, or any type of art, and people should be recognized for that, and because it's hard to rank my favorites. This is what I listened to this past year. Some I liked better than others, but it’s all good. All of it. My list is mostly albums, with a favorite song or two listed for each. A few songs are just singles.
Enjoy! I look forward to what 2024 has in store musically, as well.
#1
Jem Records Celebrates Ray Davies – Weeklings –“Lola”
Arthur Alexander Steppin’ Out! – “Woman,” “Oh Lulu, Won’t You Be My Girl”
The Big Believe Super Impose – “Doin’ My Utmost,” Girl On Wire”
Bobby Sutliff Only Ghosts Remain Plus – “Elam Bridge,” “Griffin Bay,” “Same Way Tomorrow”
The Armoires – “Music and Animals” (single)
Boygenius The Record – “Not Strong Enough,” “$20,” “Cool About It”
Chris Church Radio Transient – “Going ’Til We Go,” “One More Chance To Get Over You”
Dolph Chaney Mug – “Mr. Eli” “Good Luck With All That”
Flashcubes Pop Masters – “Get The Message,” “Gudbuy T’Jane”
Graham Parker Last Chance To Learn The Twist – “We Did Nothing,” “Sun Valley”
The Grip Weeds Under The Influence Of Christmas (reissue) – “I Believe In Father Christmas,” “Christmas, Bring Us”
The Lunar Laugh In The Black – “Born Weird,” “Allegiance”
The Midnight Callers Rattled Humming Heart – “Baby Let Me Be,” “Girl On The Run,” Maggie,” “New York Tramp”
The New Pornographers Continue as a Guest – “Really Really Light.”
Nick Frater Bivouac – “Keep it Simple, Stupid,” “Will It Be Enough?”
Popsicko Off To A Bad Start – “Some Mother’s Son,” “No Better Time”
Queens Of The Stone Age In Times New Roman… – “Paper “Machete,” “Emotion Sickness”
Ratboys The Window – “It’s Alive!” “The Window”
Shplang Thank You, Valued Customer – “Understood,” “Look Me Over”
sparkle*jets u.k. Best of Friends – “He’s Coming Out,” “I Want A Pony,” “Mahnsanto”
Speedy Ortiz Rabbit Rabbit – “Plus One,” ”Ghostwriter”
SUPER 8 HOOPLA – “Good To Be Free,” “OurTown”
SUPER 8 Raindrops On Roses – “It’s My Party,” “I Will Dare,” Cherry Cherry”
The Anderson Council The Devil, The Tower, The Star, The Moon – “Buying A House,” “Alone With You,” “Tarot Toronto”
Tony Valentino Dirty Water Revisited – “Dirty Water,” “Sometimes Good Guys Don’t Wear White,” “Vicki”
Wednesday Rat Saw God – “Chosen To Deserve,” “Quarry,” “Bull Believer”
#2
Mitski The Land Is Inhospitable and So Are We – “Bug Like An Angel,” ”My Love Mine All Mine”
Old Town Crier A Night with Old Town Crier – “Come Home, Caroline!” “I’ll Find a Way,” “Della May”
Steve Stoeckel The Power of And – “Laura Lynn,” “The Monsters Under My Bed”
TRIGGER CUT ROGO – “Way Down The Border,” “Oxcart,” “Hooray Hooray”
The Weeklings, with their seamless blend of classic rock and today's indie rock, make both look easy. It’s a lot of fun to listen to their new album Raspberry Park, and also to play 'spot the reference' with the songs.
Zeek Weekling aka Bob Burger was kind enough to answer a few questions for me.
Andrea Weiss: I like the way you put the 60s together with today’s music. How easy is that, and do you have fun with it?
Bob Burger: It’s not hard for us. At this point, the Beatles and the ‘60s are pretty ingrained in our DNA! And yes, it is a lot of fun! We love hiding Easter Eggs in our music!
AW: I like the covers on here. What were you looking for when you chose songs to cover? Is Raspberry Park a pun on Asbury Park, NJ?
BB: We didn’t consciously search for songs to cover. I think the covers were mostly Glen’s selections. But if we see an interesting take on a cover, then we’ll go for it. Raspberry Park is certainly a reference to Asbury Park (from which the band is based). But as a power pop band, it’s also a nod to one of our favorites, The Raspberries.
AW: You cover Springsteen’s “I’m On Fire” as rockabilly. Did the song seem made for that as a fun twist on The Boss?
BB: I don’t think the song was made for it. Our take is bright and rhythmic, even though the lyrics are pretty dark. But yes, it was a fun twist on a great song by The Boss!
AW: I like the instrumentals on the album. Was that a fun way to break things up a bit?
BB: We think the instrumentals and song snippet “interludes” are a nice way to break things up. They help give the record its own vibe, too, with some little surprises.
AW: “Mr. Soul Satisfaction” is great. Did you want to make people hear both songs in a new way?
BB: Certainly, we hope that the listeners hear the two songs in a new way. Mashups are fun, and we loved working with Peter Noone on this one.
AW: “Brian Jones” is an interesting take on who he was and what he represented to the Stones and to music. Is that your take on it too?
BB: Yes, the song is definitely about who Brian Jones was and his importance as a founding member of the Rolling Stones. Coincidently, there are a number of other Brian Jones projects out there now (e.g., documentaries). We didn’t know that when writing this song, but it’s nice to see that we are not the only ones to want to honor Brian’s legacy.
AW: “All the Cash in the World” is about not looking back. Is it also about something deeper than that?
BB: It’s not just about “not looking back.” It’s also about taking ownership of the events of one’s life and not having regrets if you do look back. Sort of like “My Way”!
The Weeklings
Raspberry Park
Jem Records
The album title is a pun on Asbury Park, NJ, and as someone who lived in Asbury for a while, I can say it is apt. And that’s what this album is about, a blend of today’s indie rock and classic rock that spans from combining Buffalo Springfield’s “Mr. Soul” and the Stones’ “Satisfaction,” to playing Bruce Springsteen’s “I’m On Fire” as rockabilly.
The Weeklings’ originals are where the indie rock is blended in, from the one-minute songs like “Samson” and “Etude In E,” which are almost folk, to great rock songs like “All the Cash In The World,” which is about looking back at good and bad times and you wouldn’t change how you handled them. Some of the covers. like the Beatles’ “She’s Leaving Home” and “I’ve Just Seen A Face,” have indie styling, as well.
That this new album is great means the new year is starting off right. The Jersey Shore still has a lot of life to it, and this album is one reason why. Whether you live there or not, this album will take you there.
Andrea Weiss
