MELOMANIA accelerates into this July weekend with an interview with BATTY JR, & reissues galore

also several prompts for you to contribute. (Most important)

SO MUCH EXCITEMENT

We are officially at the halfway point of the year. Congratulations to you for making it this far. Someone asked if we had to pick one album from 2023 that we could not stop listening to or even defined the year - what would it be? Naturally, we diverted. So, before we even dare to conjure such a list from the reductive process of remembering how H.C McEntire’s “Soft Crook” felt warm on Winter nights, or locals MSPAINT’s “Free From The Sun” simply radiates positivity while being truly Hardcore - we really want to hear from you first.

GETtoKNOWme: BATTY JR.!

Our friends at Earth Libraries unearth some fantastic music from off-the-beaten-path. This week the label rolls out “Do A U E!” from Austin’s Scrap Music sensations BATTY JR. Guitarist and singer Zeke Jarmon was cool enough to take a little time to enlighten us on the history of the groupself and how they made their excellent new album of Enchanting Rock.

MELOMANIA: What is the origin of Batty Jr.? Did a certain love of music bring you together?

ZEKE JARMON: Batty Jr. came together really, to continue a tradition of inclusivity in the bands of South Austin that was sorta disappearing. All over the city, there was a growing amount of "too cool for school" attitude, and we "too dumb for school" folks were being left out. We've got a saying, "Once a Batty Jr., always a Batty Jr." We probably have one of the largest bands in the USA. All it takes is someone with a tambourine to hop on stage, and you're in! We credit them between each record under the title "Honorary Batty Juniors." Go ahead, look inside! You'll see for yourself!

MM: So do you remember the first time things synced up and you thought - we might have something here?

ZJ: About a few months ago we were playing Sagebrush, which is a bar down the street from the house. It's a great big dance hall built in the 50s. Some spirit must have popped into our amps or something, 'cause we've sounded great ever since... I really don't know what kind of ghost it is, but I hope it stays with us -- and geez, we should probably credit it on the next album to make sure it feels appreciated! I gotta make a reminder.

MM: How would you describe your music to the newly formed fans out there?

ZJ: People ask us a lot what kind of music we play. We were playing in the garage one time when a neighbor who had chased their wiener dog down the street stopped to listen. We could see him standing at the curb, holding the dog for a while. After a few songs, he said, "What kind of music is this?" Of course, he was in a much better position to tell us than we were to tell him, but we went with "Enchanted Rock."

Enchanted Rock is a giant and mysterious chunk of granite about an hour outside of Austin. A batholith that was a holy spot for the Comanche and Tonkawa people. We may sometimes tell people Batty Jr. is Scrap Music (scrap music is a collage of musical styles influenced by the movie, Slacker), but it's too niche for some, and not enough for others. After saying all this, we tend to say something like, "It's got a cello in it." If THAT doesn't satisfy as an answer, then we just settle on, "indie rock." Does that last bit resonate with YOU, dear reader? [submit answers here]

MM: What do you consider to be your primary influences?

ZJ: A lot of our live shows revolve around reading the room. Seldom do we have set lists. That's because occasionally Zeke likes to play a random zydeco song or take a smoke break outside while the rest of us play. It used to be a bit of an issue, but he's getting better all the time! Most of the songs we write are very influenced by The Beatles or Beefheart, but it's more subconscious than it is a choice. Someday we really hope to be good enough to consciously write something that we want to write!
...(I'm Zeke by the way, not some disgruntled bandmate!) [identity can be confirmed here]

MM: How was recording this album? Are there tracks that you take the most pride in?

ZJ: Recording "Do A U E!" was a blast! We had a lot of time -- 'cause a lot of it was during the pandemic -- to mess it up and fix it multiple times! :D We love mistakes; no one makes mistakes the same way, so it's a very special tool for expressing yourself or groupself. Not only that, but it's the first record we've made with a union contract. I didn't mention this earlier, but we're a proud union band! Shout out to Local 433!

Once we made the record, we pitched it to Earth Libraries out of Birmingham and they picked it up! It was very shocking, I don't think we pitched it anywhere else. We've all got favorite songs on the album: Cellist Sadie likes Frandship Song, "'cause it's short and sweet, just like me!" Drummer Church likes Zephyr, "I just like that sound." Bassist Ry likes Table Is Gone II "'cause I love relatable content :^)" and guitarist Zeke likes them all, "I guess I'm a Libra?"

What was the Melomaniac’s favorite?

MM: We are with Ry. “Table Is Gone II” is just a killer song. Underplay is everything in an environment where hooks are too often the determinant. We need more mood creators! [readers are encouraged to submit their choices ]

BATTY JR. - Do A U E! [LP/CD](Earth Libraries/Redeye)

While one might want to label the Austin-ites as disheveled and wandering through their songs, “Do A U E!” is actually first and foremost - well constructed. “Fool For You” unwinds those familiar Fleetwood Mac chords into a lengthy build that is beautifully accented by the long cello notes. Then, if that was not enough, right when you feel most starry-eyed - they close the envelope and send you to the next song. Even when they show their looseness on “Lazy Bones,” they know to toughen it with drums, smart lyrics (“I’m the first to be last"), and a wordless chorus. “Frandship Song,” and “Marionettes, Jr.” are great reflections of their creative process and inspirations. Jarmon’s guitar lines regularly carry a little Texas twang (“Doggies,”) and get clever in an abstract way (the chords and sneaky break at the midpoint of “Zephyr.”) However, the evocative yet sweet “Table Is Gone II” is the best showcase of their wealth of ideas. Right in the middle of their interplay over those familiar Folky chords and the headbobbing bass line, chimes ring ushering in Jarmon’s guitar solo that escalates through double stops, bends, and effects tricks to push the band like classic Camper Van Beethoven. In other words, enchanted Rock.

LARS FREDRIK FRØISLIE - Fire Fortellinger [LP](Karisma NOR)

If Yes ever decides they need a new organist/composer, may we suggest Norway’s Lars Fredrik Frøislie. On his first solo album away from Wobbler, Frøislie proves himself well-versed in Yes circa 1973 (and a few more Prog-gers too.) The sixteen-minute opener “Rytter av dommedag” unfolds like a symphony, complete with an overture and cool Gentle Giant-style piano break before the mighty synth solo. To his credit, Frøislie allows it to coalesce like “Close To The Edge.” Its pieces and parts even fit together when the transitions are jarring. “Et sted under himmelhvelvet” feels like a variation on the same theme, until you arrive at the Chris Squire-like bass push. Even if it is familiar in sound, when the bass, drums, and synths lock together, Frøislie shows his understanding of Prog is to control the energy both within the band and the composition.

REISSUE ROUNDUP

WILDFIRE - Smokin’ [LP](Out-Sider ESP)

After the marathon Biker Rock extragavanza two weeks ago, we thought would revisit the 1970 debut from California’s Wildfire (represented by “Stars In The Sky” culled from the new Cherry Red comp.) A power trio making their way into the Boogie-infected Seventies, “Smokin’” showed a lot of promise. While lyrically they are not advancing much (again, it is Biker Rock - so simplicity is important,) their mastery of interplay and conjoined their riffage into some AOR-ready Rock N’Roll still works. “Down To Earth” showcases their similarities to James Gang, but Randy Love’s soloing is especially noteworthy. Listen to how well the entire band telegraphs the ending of “Time Will Tell” and how his double-bends and overdriven work pushes “Don’t Look For Me” into haywire pre-Skynyrd soaring territory. On the Grand Funk-ish “Let It Happen,” drummer Donny Martin displays a fantastic set of drum fills and cymbal work and it all comes through as relatively clean - given the production limitations. Finally, bassist and lead singer Danny Jamison has a great voice throughout and throws down an intense bass solo on the epic closer “Quicksand.” Who knew that as power trios were in the throes of their existence one could be so intricate and still deliver good time Rock N’Roll!

GALILEO 7 - Tear Your Minds Wide Open! [LP](Damaged Goods UK)

Allan Crockford’s Psychedelic/Mod/Freakbeat band really did its research to make a “sunshine”-flavored record that Rocks. Crockford vocally sounds a lot like both early Daltrey and the hazy pipes of those Nineties Madchester types. Because Galileo 7 straddles both Sixties Rock and its resurgence in the Nineties (that organ possibly borrowed from Inspiral Carpets,) “Tear Your Minds Wide Open!” is a Dionysian celebration of Rock. The Pop goodness of “The God of Gaps” syncs to both XTC and their offshoots The Dukes of Stratosphear. However, when they crank up their Rock on “Mystery Train” and harmony-laden “The Habit Machine,” they are dangerous. The middle section on “Habit” sounds like it was pulled from “Live At Leeds,” while “Mystery Train” is the perfect combination of cool vocals and driving psycho Moon-ish drums. While this is the rare album where everything hits, Galileo 7 never sounds too close to imitation. In addition, it is often difficult to isolate exactly what is the band’s secret weapon. On the more sunny cuts, the organ whirling away in the background is simply amazing. While those uptempo songs like “Too Much Choice” really benefit from the maniacal drums or even the Gallagher-esque edge on the vocals. Galileo 7 simply works with what is familiar to fans of this music, but never to the point of sounding too dated or like revivalists.

THE SYN - Original Syn 1965-1969 [LP](Guerssen ESP)

As one of the predecessors to Yes, the Mod/Freakbeat band The Syn shows some of the sophisticated ideas that will enter Yes (mostly during the creation period.) Chris Squire's bass is not yet tuned to the high highs to cut through the mix but is still quite muscular and present.  At their scrappiest, The Syn are mostly like Post-High Numbers Who.  The drumming is top-notch with lots of Moon-like rack tom thunder and fills. The harmonies are almost crisp - if only the production was better. Nonetheless, their released singles still have the most snap. "Created By Clive" is a clever Kinks-y slight on the fashion of Swinging London. "14 Hour Technicolour Dream" is as sardonic but countered by sweet harmonies.  The Creation-esque swish of "Grounded" (especially with Squire's bass and the guitar sweeps from future Yes member Peter Banks) probably fits the best into your Nuggets/Freakbeat playlist. The sunny Psychedelia of "Flowerman" is a close second thanks to that magic "pulled" chord.

electric eels - Spin Age Blasters [LP](Scat/Revolver)

The story goes these Cleveland ur-Punks saw Captain Beefheart in 1972 and were so disappointed in the opener, they decided they could do better. So between 1972-1975, they played just five shows in public. Listening to their screechy, scary, grinding Rock (with a dash of Free Jazz a la MC5 circa 1969,) you can hear the strands of Punk being drawn together. As David Thomas comes into Cleveland from San Diego to form the equally important Rocket From The Tombs with the brilliant Peter Laughner and Mirrors set off on the same course with the personnel listed on this live rehearsal-style recording, “Spin Age Blasters” is a collection of the eels’ showing their possibilities. The eels could really drive home a riff minus bass (the blinding “Splittery Splat”) while vocalist Dave E. is the inspiration for every Midwest frontperson not afraid to bark out lyrics like a possessed Mick Jagger or spout free-form poetry that actually assaults you. Apparently, their live shows were confrontational with leader John Morton practically encouraging it. That spark where it all turns into wildfire is somewhere on this scratchy recording. It all fuses into a weird beatnik/hippie/anti-hipster haze. The contact buzz is deafening in places as the eels clatter through songs that are recorded to tape overdriven. However, the presence at times is riveting. “Refrigerator (Alt)” is menacing and funny. “Jaguar Ride” (also the title of former rhythm guitars Brian McMahon’s book) feels infected by both Peter Laughner and The Dictators with some amazing screaming guitar. These Paul Marotta recordings from 1975 show the band with a lot of freedom whether that is the squawking “Bunnies,” the droning “No No,” the oozing Link Wray-ish fright-fest “Natural Situation,” or just using “Sewercide (alt)” to fuse Jonathan Richman and David Johansen into preening a scary tale. In the end, putting two emotions in opposition seems to be what the eels were pursuing the most. After all, if they could do that to communicate the conflict that dwelled within them - that alone would keep their music alive in those lucky enough to see them.

We hope you enjoyed this music. We always leave hoping that there is something on the list or the page for everyone. Support these artists. They are working on music that they love and firmly believe could be loved by others too. Glad to be your musical sifter/selector. Thank you.

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