This week we return to an original Nuggets group, The Remains, a bunch of Boston bad boys who could rock like the Stones and Roll like the Beatles (with a bit of Kinksy flavour in there to spice it up a little!). Formed in '64 and featuring guitarist/howlin' singer Barry Tashian, bass player Vern Miller, electric pianist Bill Briggs and drummer Chip Damiani, this group were a forced to be reckoned with on America's east coast, with their highest claim to fame being a slot supporting the Beatles on their 1966 tour of the states (their final tour EVER to be precise). This album is a classic (albeit a short one, only 25 mins long!) and stands tall alongside the other great works covered on this blog from the period, so lets get stuck in!
We start with 'Heart', a number that deceptively starts as a slowish, proto-psych number that awesomely transitions into a full on RAVE UP! 'Like a thousand drums, here it comes again'... Dig the NASTY guitar tone, clanging keys and amazing syncopation, these guys were so tight! A great opener that sets the go-go party atmosphere for the rest of the record. Track two is 'Lonely Weekend', another mid paced intro, another turnaround into full on rock, nice stonesy vibe on this with Barry doin' his best Jagger circa '65, cool cool cool cool cool... No other words. Although this album ain't entirely original, every tune the guys try out goes down a storm, just like their primary Brit Invasion influences did around the same time. Next one up though is an original tune, and what a tune it is... 'Don't look Back' was the first Remains number I heard via Nuggets, and it is a feckin' brilliant into to the group. Harmonies colliding all over the place, mid section breakdown with gospel-ish preachin', punky, 'back off' lyrics, a classic. Listen to this tune if no other number from this album, it rules that much. 'Why Do I Cry' follows, more Zombies ish this time, groovy to the highest degree and its a group original! Nice minor key chord transitions, solid solo and nicely reverbed backing vox make this a great moody brit pop number that SOOOO many garage groups would've killed for. Rounding out side one is a version of Bo Diddley's 'Diddey Wah Diddy', and what a kick ass version it is, surgin' along in R&B nirvana mode, pulsating bass line/funky drums galroe. Check out the group's live take on Hullabaloo from the time (can be found on good ol' youtube), very groovy performance indeed.
Side Two gets underway with 'You Got A Hard Time Coming', another stomper, another complex and intricately played arrangement. Oh and of course another rockin' Keith Richards inspired solo mid way thru (and from here on out, all the numbers are originals). Nice Kinksy ending also, great stuff. 'Once Before' follows, more garage attitude and pitch perfect harmonies/band interplay, kickin' it up a storm. A change of pace is next with 'Thank You', a soulful ballad with some rockin' grit thrown in for good measure, if this had been on Stones album at the time it would be remembered as a classic (but we can celebrate it here, so que cera I suppose...) MEGA FUZZ on the next number, can someone tell me if that's keyboard fuzz or bass fuzz (or a combo of the two)? Whatever, it rocks yet again (not a surprise at this point really). A simple tune but well played and bad ass, with some tasty harpsichord rolling around along with the rhythm section. 'Say You Sorry' ends our short masterpiece, more brit styling with military middle eighth drumming and a bouncy feel that propels us to the finish line, ready for one more play if we know what's good for us... Only downside bout this album is its rarity in physical forms, but seek it out on Spotify or get it on iTunes if you can dig that, see ya next time when we'll be checking out some 'Dirty Water' from '66 (extra points for figuring that one out...), adios!
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