The Fleshtones Albums (15)
What The Critics Say
If you're planning on throwing a Christmas party with the emphasis on party, the Fleshtones have just dropped the album you've been waiting for -- New York's once and future kings of Super Rock have finally made their first holiday record, and Stocking Stuffer is in the grand hip-shaking tradition of their best work, with Keith Streng, Peter Zaremba, and their partners in crime rocking the holiday season as it hasn't been rocked in years. Kicking off with a high-octane cover of "Hooray for Santa Claus" from the holiday semi-classic Santa Claus Conquers the Martians, Stocking Stuffer includes a handful of lesser-known Christmas favorites, such as Rolf Harris' "Six White Boomers" (performed in the manner of AC/DC with Ross the Boss from the Dictators on lead guitar), "Mr. Santa Claus" (first waxed by Detroit R&B wildman Nathaniel Meyer), "You're All I Want for Christmas" (in an arrangement that takes it a long way from Brook Benton's version) and "Run Rudolph Run" (with the Fleshtones giving both Chuck Berry and Keith Richards a run for their money in sheer moxie). There are also some similarly raucous originals from the boys, and if "Super Rock Santa," "I Still Believe in Christmas," "Canadian Christmas," and "Christmas with Bazooka Joe" don't leap to the top of your Yuletide Hit Parade, then it's no wonder Hepcat Kringle keeps leaving coal in your stocking. Running a bit less than 27 minutes, Stocking Stuffer could stand to be a few tracks longer, but there's no arguing that the Fleshtones make every moment count on this seasonal shindig, and beneath the sweaty, beer-soaked action there's a genuine sense that these guys love Christmas for reasons other than the opportunity to throw a world-class bash. Break out the eggnog and crank it up -- Stocking Stuffer will bring a whole lotta joy to your world. ~ Mark Deming, All Music Guide
What The Critics Say
Cranked-up, stripped-down garage rock whizzing by across 12 tracks in just over half an hour? Yup, same old Fleshtones; you either know and love them or have decided at this late date to pass on to less snotty acts. Certainly the N.Y.C. rockers are about as likely as their contemporaries the Cramps to change direction over a quarter century into their under-the-radar career. All these songs are band originals; only one of 'em is over three minutes long; and the quartet sounds just as arrogant, rebellious, and fun as it did back in the days when the band regularly played CBGB's and Max's Kansas City. Guitarist Keith Streng and singer, harp player, and occasional organist Peter Zaremba are the only original members, but drummer Bill Milhizer has been along since the band's first album and bassist Ken Fox, who contributes two excellent songs, is the new kid, having joined in 1992. In other words, these guys have been around the block a few times with each other and it shows in the tighter-than-leather-pants playing and general good vibes exuding from this set. Zaremba remains in terrific voice, especially on the closing title track where he trash-talks with the cocky attitude of a young punk. His closing screams/moans are as wild and downright bizarre as Iggy at his most outrageous. The opening minute-and-44-second blast of "First Date (Are You Coming on to Me?)" is as brash and rocking as the Dave Clark Five and the good-time vibe of "Jet-Set Fleshtones," with its calliope piano, sounds like it could have been the band's first single. While the set is short on surprises, it's still pretty amazing that the Fleshtones have delivered an album as rocking, soulful, adrenalized, and crucial as this over 25 years down the road. Maybe it's a second wind or their ability to see life's finish line, but they sound unstoppable and as vital as ever. ~ Hal Horowitz, All Music Guide
What The Critics Say
While 2003's Do You Swing? was strong enough to convince any doubters that the Fleshtones were still firing on all cylinders after cranking out the "Super Rock" since 1976, 2005's Beachhead goes that fine album one better -- Beachhead not only matches it for great songs, but actually rocks out with greater muscle and élan. Six of Beachhead's 11 songs were recorded with nuevo-garage kingpin Jim Diamond at his Ghetto Recorders studio in Detroit, while the remainder of the disc was produced by Rick Miller of Southern Culture on the Skids at his Kudzu Ranch facilities, and the tag-team production seems to have been a shrewd choice -- Miller's recordings boast a bit more production police and nuance, while Diamond captured the Fleshtones while they were fired up and rocking hard, and when you put it all together one gets the best of both worlds. (Though Diamond was behind the board for the moody closer, "Late September Moon," and Miller recorded the rollicking "Push Up Man," proving neither man's skills are mutually exclusive.) If Peter Zaremba's voice isn't as smooth as it once was, he's still plenty commanding, and the rest of the band -- Keith Streng on guitar, Ken Fox on bass, and Bill Milhizer at the drums -- sound sharp, powerful, and muscular without losing touch with the smarts and sense of fun that always made this band a hit at social gatherings. And the opening hat trick of "Bigger and Better," "Serious," and "Pretty Pretty Pretty" shows these guys still have the hooks, the riffs, and the gift of gab firmly at their command -- the Fleshtones haven't stopped writing cool songs and playing them right, and Beachhead is one solid blast of Super Rock thunder that will get the party started. ~ Mark Deming, All Music Guide
What The Critics Say
Some folks like to say that history is cyclical, and it certainly supports this theory that just as a bunch of young bucks have (once again) come along to say that rock & roll is getting stale and needs a good dose of high attitude and fuzz-tone energy, the Fleshtones -- who've been saying the same thing since 1977 -- have re-emerged to remind the world how this whole "super rock" thing is supposed to be done. Maybe they don't dress quite as sharp as the Hives, or pose as well as the Strokes, or get worshiped by the British press quite like the White Stripes, but one spin of the Fleshtones' 2003 platter Do You Swing? proves that if you wanna get a rock & roll dance party started, Peter Zaremba and company are still your finest one-stop shopping place. And perhaps having some fresh competition (not to mention facing the fear of being outclassed by bands fronted by guys who weren't even alive when the Fleshtones played their first gigs) has been just what these folks have needed, because Do You Swing? is one of the strongest Fleshtones albums to date, boasting material every bit as potent as what they served up on Roman Gods and Hexbreaker, and sounding fresh, energetic, and gloriously alive. Rick Miller from Southern Culture on the Skids produced Do You Swing? at his home studio, and the results have a bright, punchy sound that never gets in the way of the reverb and/or fuzz, and the vibe is at once loose and perfectly focused. And from the Swingin' Medallions-esque "I'm Back Again," the R&B-flavored "Hard Lovin' Man," the tribute to rock's greatest chord changes, "1-4-5," and their ode to living in one of Brooklyn's least-gentrified neighborhoods, "Destination Greenpoint," the Fleshtones have come up with a batch of top-shelf songs that show them to their advantage. It would be silly to say the Fleshtones are back, since they never went away, but after 26 years in the game, Do You Swing? shows they've still got the rock -- and if anything, they're getting better at serving it up. Pour yourself a Blue Whale and check this disc out pronto. ~ Mark Deming, All Music Guide
What The Critics Say
The venerable Fleshtones awarded themselves a gold record in tandem with the release of Solid Gold Sound, possibly accentuating frustration at remaining a cult peculiarity for their two and a half decades together. Subtly, the grooves themselves also hint at some level of disenchantment; whether it's the lyrical cynicism of the New York Dolls-ish "Whatever It Takes," which name-checks disco divas, or the track that follows it, "Good Good Crack," which could be disco, there seems to be resentment. And there shouldn't be. The Fleshtones have struck gold with many fans of punk-infused retro-rock, and the meat of this disc will do nothing to dissuade them. There is a French version with a modified cover and different track order, and the vinyl version includes two bonus tracks, "Beer Run" and "The Friends of Bazooka Joe." ~ Brian O'Neill, All Music Guide
What The Critics Say
The Fleshtones haven't changed at all in their 20 years together, which is both for better and for worse. On one hand, there's nobody -- nobody -- that delivers retro-garage raunch as consistently enjoyable as these guys. On the other hand, there isn't much stylistic variation between their albums, which means almost all of their records -- especially the latter-day efforts, after the group's raw energy settled down a little bit -- are interchangeable. More Than Skin Deep, recorded nearly 20 years into the group's career, is essentially the same as all their other records, filled with primal riffs and garagey raunch. A few of the songs are great, a few are terrible, many simply make the grade. If you've been following the group for any length of time, you won't be surprised and you won't be disappointed. If you haven't heard any of their other records, you may wonder what the fuss is about. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Fleshtones is a reissue of the Fleshtones' original recording sessions cut in 1978 and released on ROIR as Blast Off!. This release on Red Star has a different running order, but all the same tracks. And what great tracks they are. The band had all the elements of the sound worked out already: the garage rock attitude; Peter Zaremba's tough and hilarious vocals; Keith Streng's manic, twangy guitar; and, above all else, the ability to get the party started. Tracks like "B.Y.O.B." and "Watch Junior Go" are built for dancefloors; "Critical List" and "American Beat" are snarling garage punk stompers that destroy the efforts of all other retro-garage bands to follow in the Fleshtones' super rock footsteps. They pick super-cool covers, too: Kid Thomas' "Rockin' This Joint," the Strangeloves' "Cara-Lin," and "Soul Struttin'," a bubblegum funk stomper co-written by Marty Thau and Tony Orlando. New York new wave/punk legend Marty Thau actually produced the sessions, and he no doubt convinced the band to cover Suicide's "Rocket USA" and roped in Alan Vega to sing lead on a very convincing version. Unfortunately, the sessions were aborted and were never completed or released until ROIR dug them up in the early '80s. The Fleshtones revisited many of the songs recorded at this time, most notably "Shadowline" on their great debut album, Roman Gods, and "American Beat" for the soundtrack to Bachelor Party. It is very cool to hear them in their original form. Any fan of the Fleshtones should make sure they have the 1978 sessions in their collection in some form. They are the cornerstone upon which the Fleshtones' hall of fame was built. The ROIR version may be preferable because it is not saddled with a hideous cover like Red Star's release. ~ Tim Sendra, All Music Guide
'Beautiful Light'
Release Date 2/15/1994
Tracks 12
Label Naked Language
See Album Tracklist and Review
