The Blondes Albums (3)
What The Critics Say
The sound of 1970s guitar pop has staying power. Many, many bands have paid homage to the radio-ready sounds of bands like the Raspberries, the Rubinoos, Cheap Trick, and the Records. Many bands flat out get it wrong; by being too wacky, by being too reverential, or by not having strong hooks. There are also a few bands who manage to transcend their debt to the '70s, and are inclined to create music that looks forward as well as backward. Redd Kross, Jellyfish, maybe Fountains of Wayne, to name a few. The Blondes are not ready to be added to that list yet. Far from it. Their debut full-length record is filled with all the trappings of '70s pop, with soaring vocals, harmony guitar leads, walls of overdriven guitars, and sweet, catchy, dumb songs. Unfortunately, the songs are on the far side of goofy. Numbers like "Teenage Foxes," "Suzi Quatro," and "Vesna Velovic" are not half as witty as the band seems to think. No one expects epic poetry to be sung over the rush of power chords and swooping synths, but they might expect lyrics that are not quite so feyly clever. Also, by the time the record reaches about track eight or so, the same-yness of the arrangements and guitar sounds begins to drag the listener down, and gets them to thinking about what they will listen to next. The Blondes do have potential however; some of the melodies approach timelessness and the record is well-recorded; the music seems to leap right out of the speakers. Chalk it up as a mildly entertaining power pop nostalgia trip, and hope the band grows up (just a touch) before their next album is released ~ Tim Sendra, All Music Guide
What The Critics Say
The "dazed and confused" early to mid-'70s were a time when AM radio stations across the U.S. provided platform-wearing, feather-haired teens with a sunny soundtrack -- part hard pop, glam rock, glitter, and bubblegum -- to accompany their (mostly) innocent suburban hijinks. Bumper stickers on skateboards and Schwinn bikes emblazoned with band names like Kiss, the Sweet, Nick Gilder, Alice Cooper, and Cheap Trick were displayed proudly, and this self-titled debut by the Blondes plays like an homage or tribute to those halcyon days of yore. It features seven tracks that were previously issued in 2000 on an EP under the band's previous name, Eagle, by the L.A.-based Shipwrecords, a small indie operated by the group's friends in Wiskey Biscuit. In 2002, it was reissued on the German-based Middle Class Pig label, after bassist Jimmy James gave Middle Class Pig owner Erik Bauer a copy of the Eagle CD while on a European tour with the Masons. Bauer loved the CD, and struck a deal with the band to reissue it. However, by then, the bandmembers had been sent a "cease and desist" letter by Don Henley of the Eagles, who claimed ownership of their name. Eagle became the Blondes, and the German label issued the CD, adding two additional songs. One of these was a rousing cover of Mud's 1973 Mike Chapman/Nicky Chinn-penned Top Five U.K. hit "Dyna-Mite." The track -- produced by L.A. guitarist/songwriter/producer Ward Dotson (Liquor Giants, Pontiac Brothers, Gun Club) -- had originally appeared on Blockbuster: A Glitter Glam Rock Experience, a collection of modern day glam rock. The second additional track, "Tokyo Angel" -- featuring the band's first drummer, Aaron Sperske (of Beachwood Sparks, Lilys) -- was produced by Jason Falkner (ex-Jellyfish) in his L.A. home studio. The Blondes sound like a rock band whose members enjoy playing together, and this album -- while sounding like a labor of love -- doesn't sound labored over at all (a problem with many contemporary pop bands). The album kicks into high gear with "High-Five Suicide," featuring solid drumming by one of L.A.'s finest drummers, Byron Maiden (aka Byron Reynolds). "California Sunshine"'s midsection is highlighted by a slide guitar straight out of George Harrison's solo work. The cowbell-driven boogie rocker "Suzi Quatro" -- a heartfelt sexy paean to the '70s glitter goddess -- rocks hard, with guitarists Bill Dusha and Adam Siegel trading off '70s-style stereo guitar-hero licks. The swirling, loping psychedelic pop gem "Igen" is steeped in some kind of Norse mythology (are some of those lyrics in Swedish?). The rest of the album is top-notch hard-edged glam rock, with more hooks than a box of fishing tackle. ~ Bryan Thomas, All Music Guide
