John Wicks and The Records

November 26, 2008
Starry Reprise
By Falling James

You might remember the British band the Records, who released one of the best and brightest power-pop songs of the late '70s, "Starry Eyes," a breakup anthem whose bitter lyrics were disguised by an exhilaratingly exuberant hook, which was wrapped up further in a thick wreath of super-jangly guitars and busy bass lines. Leader John Wicks has carried on with the band name and released a series of under-recognized albums since that breathtaking debut, culminating in 2007's Rotate. Although billed as an anthology, the album includes new songs as well as reinventions of some of his old favorites. What distinguishes Wicks' work, both then and now, is the supremely tasteful, melodically surging guitars that tear through yearningly romantic tunes like "That Girl Is Emily." He's mastered the rare craft of writing delicately wistful pop songs that actually rock. There's a gorgeous majesty to the way the guitars ring out and then crumble on the title track, as Wicks croons with a hint of Roger McGuinn's quaver, and the CD concludes with an interesting reduction of the Beatles' "We Can Work It Out." - LA Weekly

John Wicks, lead singer of almost-famous British post-punk, power-pop combo the Records, and Paul Collins, who tilled similar fields with the Beat, joined forces in an exemplary living-room show in the friendly confines of the suburban San Jose outback.

Wielding nothing but acoustic guitars and their well-traveled voices (Wicks’ raspy tenor and Collins’ booming baritone), they didn’t forget to bring the most important element: the small steamer trunk of terrific songs each has penned over the past 30 years. When the pair, who first met five years ago in Spain, kicked things off with a stirring rendition of “You Tore Me Down,” the Flamin’ Groovies’ 1975 comeback gem for Greg Shaw’s Bomp! label, the bar was set for a fine evening of jangling, melodic rock. Wicks and Collins didn’t disappoint.

Wicks, who now resides in Los Angeles, and Collins, based in New York, are in the middle of a nationwide tour of people’s homes. As a flock of northbound Canadian geese honked overhead, both chatted amiably in the back yard before the gig, while guests filled up on tacos, wine punch and mini-bar bottles of booze. Wicks explained the back-story of the Records’ best number, “Starry Eyes,” a delightful 1979 impaling of former manager Frank Silva, lounging about in the south of France while the band cooled its heels in London, waiting for its career to take off. “He thought we were off the boil, so he was busy with his new signing, the Yachts,” says Wicks. “Starry Eyes” concludes with the killer couplet: “We had no time for cocktails or working up a tan/The boys have all been spoken to, the writ has hit the fan.” Wicks has talked recently with the song’s co-composer, drummer Will Birch, as well as bassist Phil Brown about a full-scale Records reunion. Nothing shaking yet.

Collins, too, says he tried recently to reform the Nerves, the fabled L.A. pop/punk trio that featured Collins on drums, guitarist Jack Lee and bassist Peter Case. In 1976, the Nerves rented a Hollywood basement at the corner of Gower and Sunset at the onset of the punk revolution to showcase themselves, dressed in sharp, three-piece suits, alongside Smogtown crash ‘n’ burn aggregations the Dils, the Weirdos, the Zeros and the Screamers. Case would be happy to resurrect the Nerves, says Collins, but not with Lee, the man who wrote “Hanging On The Telephone,” later a worldwide smash for Blondie. Since Lee penned most of the Nerves’ material, that effectively derails a reunion.

Wicks and Collins got everyone’s attention tonight with a startling one-two punch: the Records’ harmony-infused delight “Hearts In Her Eyes” (also cut in ‘79 by Merseyside folk-rockers the Searchers), followed by a nifty cover of the Hollies’ “King Midas In Reverse.” Collins explained to the crowd of three dozen how the Internet had awakened him to the possibility of making a profitable cottage-industry of his music. “I found out I had thousands of fans in Australia, in New Zealand and all over the world. So, John and I have become wandering minstrels.” Collins then showed why he he’s retained such a loyal fan base with a ripping version of his “I Wanna Be With A Rock ‘n’ Roll Girl.” Wicks laughed at a night out in New York for the Records 30 years ago when they thought they were big pop stars. “We went to the Palladium to see Rockpile, the Nick Lowe and Dave Edmunds band, and people mistook us for Rockpile. It was very embarrassing.”

The tandem wound things up with of a sharp medley of the Hollies’ “Bus Stop” and “Things We Said Today,” by “the other John and Paul.” A couple of Nerves songs, “Paper Doll” and, naturally, “Hanging On The Telephone,” led to a stirring finale of “Starry Eyes,” an anthem that still gets the blood racing. “Tell all your friends to hire these guys,” said Collins as the pair knocked back self-congratulatory shots of whiskey.

“I’ve done about 15 of these shows since 2000, and I think this was the best one yet,” said starry-eyed host Padilla afterward, as the crowd began to depart. Having attended one show with John Doe and Jill Sobule and a pair by Ken Stringfellow and Jon Auer of the Posies, I’m inclined to agree. With a set list this good, how could it not be?

—Jud Cost - Magnet Magazine

Amazon.com John Wicks and The Records:
Rotate: An Anthology starstarstarstarno star Label: Kool Kat Musik
Released: 2007

If the name John Wicks isn’t an immediate bell-ringer, then at least the Records ought to be; way back in the late ‘70s, when power pop was still a viable commercial entity without necessitating teen-magazine-worthy cuteness amongst the artists performing it, the band released “Starry Eyes,” a song so catchy that even America couldn’t resist its charms. Well, okay, you might could say that they resisted it a little bit, since the song only made it to #56 on the Billboard Top 100 Singles chart…but, still, a hit’s a hit, and almost thirty years later, a surprisingly large amount of people still remember the lines, “I don’t wanna argue / I ain’t gonna budge / Won’t you take this number down before you call up the judge?”

The Records disbanded in 1982, with three studio albums to their name, and the band’s core trio – Wicks (vocals, rhythm guitar), Will Birch (drums), and Phil Brown (bass) – went their separate ways; in the early ‘90s, however, Wicks revived the band name to record a version of “Darlin’” for a Beach Boys tribute album and, in response to the positive response received by the cover, decided to start the Records up again.

For some, the prospect of a Records line-up without Will Birch may be one that offers no interest, given that an examination of the songwriting credits for the band’s 20-track anthology, Smashes, Crashes and Near Misses, reveals that nowhere on the album does the name John Wicks appear without that of Will Birch. Yes, the band was unquestionably a collaborative effort between the two. As it happens, though, Birch was the lyrics man of the group, so it’ll be no surprise that Rotate, the new anthology of Wicks’ more recent Records material, doesn’t sound discernibly different from a musical standpoint; and, frankly, if Will Birch doesn’t mind if John Wicks keeps the band going, then why should you? (More on that in a moment.)

Rotate is described within its own title as an anthology, but that’s not an entirely accurate description; yes, it’s an anthology in the sense that it includes material from the years since Wicks revived the band, but, in fact, the contents are a mixture of new recordings and remixed versions of older tracks. Four of the tracks originally appeared on the Records’ 1999 album, Rock’ola, and, as it happens, they’re four of the best. “That Girl Is Emily” is immediately reminiscent (and no doubt intentionally so) of Pink Floyd’s “See Emily Play,” while “Edges of a Dream” and “So Close to Home” find Wicks and company easily matching the pop perfection of the original Records’ best work. And though the opening lines of “Different Shades of Green” provide a few moments where you’ll really miss Birch’s way with words (“Like three blind mice / See how they run / I roll the dice / And the game is won”), the song still possesses a monster riff that can’t be ignored. Weirdly missing from the line-up of Rock’Ola songs, however, is the great “Her Stars are My Stars,” which appeared on the 1996 compilation, Yellow Pills, Vol. 3, and, a bit surprisingly, once more bore the familiar songwriting credit of Wicks and Birch.

Of the other songs, “Oh Yeah!” is a great way to start out the proceedings and say, “Musically, things are the same as they ever were,” and the title track is nothing short of a guitar-pop epic. In fact, the lone bum step on Rotate comes in the form of “Whenever You’re Near,” which sounds less like the Records than an attempt at writing an adult contemporary hit for REO Speedwagon; it’s probably not coincidental that it’s the oldest Wicks composition on the album, but, similarly, it’s unquestionably the track that’s aged the worst. It’s worth mentioning, though, that the decision to close the album with the band’s cover of “We Can Work It Out” isn’t necessarily the best maneuver; the performance is fine enough, laced as it is with Wicks’ typically solid harmonies, but the muddy production on the song causes Rotate to end on a duff note rather than a rousing one. (Fortunately, however, if you manage to pick up the limited-edition version of Rotate, you’ll be able to save the day by popping in the bonus disc and checking out three fantastic “basement demos” from the band’s twangy mid-‘90s era, along with two crisp-sounding live tracks from a 1995 performance at The Birchmere, in Alexandria, VA.)

So set aside any concerns you may have about the viability of the latter-day Records; with Rotate, John Wicks provides ample proof that his way with a pop hook remains undiminished.

Surprising post-script: When I sat down to write this review, I wanted to make sure I knew what I was talking about when I mentioned the fact that Will Birch was no longer a part of this incarnation of the Records, so who better to approach than Birch himself? I queried Mr. Birch via E-mail, and, with the caveat that he copy John Wicks on his response, he responded thusly:


“I haven’t heard Rotate and not sure what (John’s) ‘latter day Records material’ is, but I wish him every success with it. There is no animosity between us, and, in fact, we have an ongoing business relationship with our publishing catalogue from the Records’ ‘golden years’, which still ticks over nicely. When John moved out to the States some years back, he asked me if I minded him going out as the Records, and I said, ‘No problem,’ as long as he made it clear it wasn’t the original group, which I think he has adhered to by billing himself as ‘John Wicks and…’ His activity is, to use your phrase, a ‘Birch-free zone’, unless he’s doing any of the songs we co-wrote, but I wish him well.”


Very nice, eh? But, actually, getting the reply wasn’t the surprising bit, given that Birch notes on his website that he “endeavours to answer all messages.” No, the surprise came approximately half an hour later, when my phone rang…and John Wicks was on the other end of the line!

Wicks essentially confirmed Birch’s comments, but he did want to offer a bit of an explanation about the reason he bills himself the way he does. It wasn’t that he had any problems going completely and totally solo; it was that, when he made his move to the States, he couldn’t score a gig as “John Wicks” to save his life. As a result, his manager at the time suggested that perhaps he might have a better go of it if he appended “and the Records” to his name, and the rest – with Will Birch’s blessing – is history. Ironically, he says he now fights the occasional battle with people who think he should actually drop the “John Wicks and” part! Don’t worry, though, Will: he has no interest in doing that, acknowledging that it wouldn’t be fair to combine the two eras of the band in people’s minds.

~Will Harris

wharris@bullz-eye.com
- Bullz-Eye Online

June 19, 2007
John Wicks and The Records "Rotate"

Going through the backlog of CDs, several Kool Kat artists were released recently. If you like your power pop in a vintage 80's mode, you couldn't do better than John Wicks new album "Rotate." Wicks picks up with the classic Records sound and starts right away with the catchy "Oh Yeah!" a sure-fire classic single. Another standout is "That Girl is Emily" - a great rock and roll song with a bit of Cheap Trick styled guitar theatrics. "Rotate" is another mid-tempo guitar jangle-fest with a highly enjoyable melodic chorus that reminds me of a classic REM song. Wicks vocals have barely aged and sounds as good as he did twenty years ago. "Rising Stars" and "Desert Sky" both have some great moments, but wander on a bit too long. Another great song is "The Lost Years" an autobiographical account of The Records troubled past. "Come on Round" is another catchy riff filled piece of jangly goodness with a touch of alt. country. Also a great cover of the Beatles' "We Can Work it Out" rounds out this excellent release. For Records fans, this is a must-have CD and for other pop fans it is highly enjoyable listening. - Powerpopaholic

Nov 19, 2008

You might remember the British band the Records, who released one of the best and brightest power-pop songs of the late ’70s, “Starry Eyes,” a breakup anthem whose bitter lyrics were disguised by an exhilaratingly exuberant hook, which was wrapped up further in a thick wreath of super-jangly guitars and busy bass lines. Leader John Wicks has carried on with the band name and released a series of under-recognized albums since that breathtaking debut, culminating in 2007’s Rotate. Although billed as an anthology, the album includes new songs as well as reinventions of some of his old favorites. What distinguishes Wicks’ work, both then and now, is the supremely tasteful, melodically surging guitars that tear through yearningly romantic tunes like “That Girl Is Emily.” He’s mastered the rare craft of writing delicately wistful pop songs that actually rock. There’s a gorgeous majesty to the way the guitars ring out and then crumble on the title track, as Wicks croons with a hint of Roger McGuinn’s quaver, and the CD concludes with an interesting reduction of the Beatles’ “We Can Work It Out.” The Records open for modern-pop auteur Matthew Sweet, who emerged from the Athens, Georgia, scene in the mid-’80s. Sweet’s new CD, Sunshine Lies, sees him branching out with a newfound Iggy Pop snarl on tracks like “Flying” and “Room to Rock.” (Falling James) - LA Weekly

Monday, April 30, 2007

The Records have always been "Top of the Pops" in my pantheon of powerpop purveyors. At the time the band released their genre-defining first single "Starry Eyes" in 1978, I was a punk rocker who took Joe Strummer and the Clash's admonition in "1977" about "no Elvis, Beatles, or the Rolling Stones" a bit too seriously.
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The punk party line told us we were fighting a musical revolution and anything that came before had to be destroyed! But after hearing the four minutes and twenty-three seconds of "Starry Eyes" that punk rock epistemology was forever discredited for me. By seamlessly melding the amphetamine rush of punk with the crystalline jangle of vintage Brit-invasion the song singlehandedly reunited me with my rock and roll roots the Beatles, the Raspberries and Blue Ash and led me to discover other kindred spirits like Shoes and 20/20 who were re-imagining the classic pop rock repertoire of the 60s and early 70s.

That brings us to "Rotate." The Records went on to release three classic LPs in their heyday: "Shades in Bed" (1979), "Crashes" (1980), and "Music on Both Sides" (1982), but by the mid-80s they were finished. John's musical efforts in the intervening period were high quality, but unfortunately infrequent. He contributed tracks to several compilations (a lovely version of the Beach Boys' "Darlin'" to "Smiles, Vibes & Harmony – A Tribute To Brian Wilson" in 1990 and "Her Stars are My Stars" to "Yellow Pills, vol. 3" in 1995 to name a few) and as John Wicks and the Records he released the great "Rock'ola" on the Spanish label Rock Indiana in 1998. While John continued to record and play live, fans of the Records have anxiously awaited a new long player for nearly 10 years. That wait is now over.

"Rotate" reworks 4 stellar tracks from "Rock'ola" and adds 8 new recordings to the mix. It could just have easily been called "Revolve(er)" as John's musical palette continues to mirror the Records' classic sound, one that is heavily influenced by middle-period Beatles songcraft. As in his previous work, John's penchant for crafting gorgeous melodies remains undiminished. Stellar tracks include the opener "Oh Yeah!" with its infectious chorus and "That Girl is Emily" which utilizes a sweet, slighly lysergic circular guitar motif that immediately places the song high on the list of great rock tunes written about girls named Emily. "Different Shades of Green" and "So Close to Home" are instant powerpop classics which would have fit comfortably on "Crashes" with their shimmering guitar work and anthemic choruses. Of the new tunes, many like "Rotate" and "Desert Sky" explore decidedly darker themes of crisis, despair, and redemption than John's earlier work. One of the standouts of this song cycle is "The Lost Years," a touching autobiographical song chronicling John's post-Records depression and recovery. "Rotate" closes with a stripped-down version of the Beatles' "We Can Work it Out" that brings the listener back full circle and is a fitting tribute to John's foremost musical influence.

"Rotate" is a must-have for Records fans and true powerpop aficionados. Without question, John Wicks remains at the top of his game and continues to make great music . . . Get it now!

- Kid Charlemagne - Powerpop Blogspot