THE RECORDS (Page 2)
But I Didn't Know Him/Fight Fire
You are gonna be hearing a lot more from this band. This Freakbeat threesome can slice the pie like nobody else. Stylised and reverb soaked production courtesy, who knows? The original A-side reeks of changing leaves and burning electrical wires while a visionary version of Fight Fire rounds third for an out of the park slam. A superior mother. Colin Bryce, Mohair Sweets
But I Didn't Know Him, taken from the Separations LP, is very faithful to the live energy that the trio expound on stage. The most astounding element of The Embrooks' sound is the combination of the driving beat and Mersey styled harmonies. The flip is a great rendition of Fight Fire, sounding very close to the dynamic version by The Fantastic Dee Jays. An incredible debut! Mojo Mills, Shindig
The Embrooks EP (4-track)
Separations LP
First album from the popular Mod/Rally circuit 3-piece, The Embrooks. Owing much more to the dark, slightly disturbing, sound of Freakbeat and Garage from 66/67 (rather than the mid-60's English sounding Mod-Pop of The Kinks or The Small Faces), this is an album that grows on you the more you listen to it.
On first listen, many of the tunes blend into each other, but it suddenly becomes apparent that tracks like Where Were You?, You Take Me For Rides, Sun's Going Down, and the cover of John Fogerty's pre-CCR group The Golliwogs' Fight Fire are excellent cuts that stand up on their own. The production, and Moles' voice, gives the band a fairly authentic sound, without the feeling that they are purely a 60's revival act. Great release, and well worth seeing live too. (Review of Dionysus version of 1st LP) David Steel, ModCulture
More Than Ever/You Can Be My Baby
Watch out! Top UK Freakbeat combo with another knockout 45. Recorded under the watchful analogue eye of Dr. Watson, this ups the previous cool quotient by at least another 78.92%! Lois pounds the hell out the drums, Al buzzes wid da fuzz and Mole continues on his groovy way with a way out bass line and some wild woo hoo woo hoo's like man! Don't be square; get with the Embrooks post-haste. Colin Bryce, Mohair Sweets
If You Let Me Go/Please Don't Worry/Keep It Quiet 7"
Our New Day LP
Until I picked up this puppy, I had never intentionally delved into the world of Freak Beat. Well, if this is Freak Beat, then I need to be Freaked and Beaten frequently. The Embrooks biff, bang and pow their merry way through 12 head bobbing ditties that retrace the early steps of The Creation, The Who, and to a lesser extent, The Move, The Small Faces, and the popper, Jeff Beck-era sounds of the Yardbirds.
The most dazzling thing about this disc is that although The Embrooks have captured the essence of 1966 British rock, they rarely venture into the common practice of merely rewriting an old favorite, in a manner reminiscent of doing a 6th grade report by using synonyms for the words you found in the World Book Encyclopedia. The Embrooks rate up there with groups like The Kaisers in their ability to inject their own wrinkles into a well-established style, creating instant classics in the process.
I'm Still Trying is a compelling example. The song sits on the cusp of blues-based rock and roll, with it's chugging chord progression, and melodic pop, particularly on its pleading bridge. Still need convincing? Check out how (For) Another Man combines a verse that is oh-so-Pictures Of Lily with a chorus that comes right out of the Yardbirds' playbook.
The execution equals, if not betters, the songs themselves. Drummer Lois keeps a solid beat and fills the sonic space with cool splashes on the cymbals. In classic Entwistle fashion, bassist Mole manages to carry his share of the rhythm duties while dexterously adding a critical melodic element. And Al makes a fat, warm sound with his guitar, pulling out a dozen nifty recipes from his rock cookbook (Betty Rocker?). This is all tied up by extremely live sounding production - not one milliliter of excitement has been lost in capturing these sounds in the studio. Mike Bennett
The Embrooks are not so much a mod revival outfit as a freakbeat revival group, if that mini-genre could be coined. Their sound is very much 1966-based, owing a great deal to the mod power-pop sound of the Who and Who-type British acts of that time, as well as some to Continental (particularly Dutch) mid-60s bands. There's enough guitar distortion tinge to their raveups to qualify for the "freakbeat" tag: mod on the verge of becoming psychedelic, but retaining a hard guitar pop base. The trio was formed in late 1996 by Mole, Alessandro Cozzi Lepri, and Lois Tozer. Their American debut, Our New Day, issued by Voxx in 2000, is an unabashed attempt to recreate the freakbeat sound of 1966: splashing drums, Who-type power chords and distorted guitar leads, tight pop tunes with harmonies, and a generally close-to-manic forward thrust. Most of the material is original, and when a band covers the obscure Say Those Magic Words by Birds' Birds, as well as Dutch '60s tunes, you know their record collection must be pretty deep. The album certainly isn't original, and would have never existed if not for the wealth of source material from thirty-plus years previous to imitate. At the same time, as mod revival goes, this is above average, the band playing with confidence and enthusiasm. Actually, even if it had been released in 1966, it would have been pretty respectable, though not special. Richie Unterberger, All Music Guide
O.K. lets not beat around the bush. This is hands down the number 1 Feline Frenzy fave rave of 2000 - a really standout album in a year that saw so many fab releases by the best loved garage bands. The Embrooks can cover, and even perfect songs that have become anthems to freaky-beat lovers everywhere. Who else would even DARE record Say Those Magic Words and manage to make an equally inspired version as The Birds, or tamper with the Dutch beat classic (For) Another Man? How about those crashing, slashing originals with weird rhythm changes, assaultive guitar solos and well-timed cymbal bashing? Usually, it's the rhythm and not the lyrical content that get me moving but how can you ignore such social statements as Standing Upside Down or I'm Still Trying? And hands up for those changing their names to Helen! The punched-up raves don't just end with these faves! Amphetamine fuelled enthusiasm oozes from every inch of Embrooks vinyl. Order it today! Glenys Ward, Feline Frenzy
Though this British trio is very heavily rooted in the mid-60's UK Freakbeat/Mod sound, they manage to sound as fresh and invigorating as anyone I've heard this year on their staggering second album. Not an easy trick to pull off in today's retro-saturated climate! What allows this record to overcome that hurdle is the strength of the material - these tunes just ooze attitude. The blistering fuzz-drenched guitars, Mole's impeccable melodies, and the fantastic harmonies are downright amazing. In addition, the low end, yet clean sounding, production gives this record an enticing live feel - I wish the most recent Britpoop albums sounded more like this! Highlights include the blasting Standing Upside Down, the psych-tinged Springtime, and the hard-hitting You've Been Unfair, a track somewhat reminiscent of The Eyes' 1965 stunner When The Night Falls. An ace cover of Say Those Magic Words shows that The Embrooks must have great record collections too. Vendetta
Though inspired by one of the most fertile periods in rock history, the garage revival has to be one of the most uninspiring retro movements ever. If its proponents aren't relying too much on instrument icons and caricature clothing, they're nostalgia mongers who can't carry a tune. If they aren't playing covers that fall short of the originals, they're trend-hoppers ruining old songs with modern production values. And then there are the Embrooks. Unlike the typical retro fare, the Embrooks remind you not only that the '60s happened, but why you dug all of those sounds in the first place. The rhythms rock, the vocals roll, the originals are as great as the covers, and the band's chemistry is amazing. Above all, unlike the tinny fuzz flops heard on countless revival records, strong production with an analog base helps set this trio's tight sound on fire. Whether its creators are pounding out a Mod beat or soaring through a melodic rocker, those flames are never doused on Our New Day. Much like the Who or Creation revving up on Run Run Run or Making Time, cuts like No Matter What You Say, Bad Flight and Not a Priority affix smashing riffs to thick-wristed, hammer-down rhythms by drummer Lois Tozer and bassist Mole. More typically, however, the Embrooks keep their party hoppin' with originals (penned by Mole and/or guitarist Al) such as Standing Upside Down, I'm Still Trying and Helen which rock out with a lot of melody. They're strong melodies, too, comparing quite favorably to solid covers of (For) Another Man and Say Those Magic Words. Not only is Our New Day the best new release of 2000, it's probably the best garage-psych revival record ever made. Doug Sheppard
The legendary Voxx Records jumps headlong into the New Millennium with this disc by a really cool British threesome. Of course, being Voxx Records, you know they're going to release something decidedly authentic, and that's the watchword for the Embrooks. These guys and gal look like they fell out of a time machine originating from London's West End, circa 1966, and Our New Day is filled with 12 slabs of beat and freakbeat that are guaranteed to get you shakin'! Band originals like Standing Upside Down, No Matter What You Say, and I'm Still Trying will satisfy the hardiest garage fans, and Springtime and Eyes of Love will make you exclaim one word - WOW! The band throws in excellent covers of Say Those Magic Words, (For) Another Man and You've Been Unfair for good measure. Our New Day is an excellent, truly inspired disc, and one can only imagine how good this band is live! David Bash
Our New Day is like discovering a previously unreleased companion to The Who Sell Out. The British trio clang and bang through a dozen '60s-inflected tracks that sound as if they just rolled in off Carnaby Street. Bassist Mole nonchalantly tosses off melodic bass lines while drummer Lois thrashes in a perfectly co-ordinated approximation of chaos. Guitarist Al churns out meaty, yet melodically hooky chords with just a smidgen of feedback to ensure that they never become cloying. There are instants that recall the Yardbirds, Small Faces and Manfred Mann, but the goofy do-do's of Helen will have you looking around for a certain Sloan-y guy named Murphy. And while the songs and even the production sound like mid-60s Brit Invasion madness, there's an undeniable edge to it. They never succumb to Gallagher-esque animatronic musical necromancy either; the songs have the feeling of old Brit Invasion faves, but they don't actually sound like any pre-existing songs and never sink to mere rewrites. That they manage to pull it off without getting smirky or ironically nudge-nudge-wink-wink may be the greatest achievement. John Butland
A mod-pop explosion from the British trio that flipped all wigs at the first Las Vegas Grind. The Embrooks have made a freakbeat record that coulda come out in 1966, but that never seems dated or contrived. The sound is big and full, with strong songs enlivened with surprising arrangements and Lois' propulsive drums. Kim Cooper
The problem with most groups around today is that no matter how hard they try, no matter how loud they play, no matter how hard they scream, almost none of them can match the pure, glorious frenzy of mid-sixties Who, Small Faces, and Creation or the raunchy sleaze of the American garage bands. The great exception to this rule is the Embrooks, and their second album, Our New Day. With its conciously retro sound, this may be a guilty pleasure for some. But the band does it with such conviction that they pull the stunt off. The band sounds like a shotgun marrige of The Creation and The Dave Clark Five. The drummer, Lois, is exceptional, like Keith Moon on the verge of total collapse. The record is a glorious refining of the Shel Talmy sound. Guitar, bass, and drums combine to create the most vicious punch I've ever heard. The album opens with a ripping statement of purpose, Standing Upside Down, which sounds like a picture of pill popping maniacs of days gone by. The two covers on the record are tighter versions of rare chestnuts, Say Those Magic Words and For Another Man. The band never fails to go for the knockout hook. Only the brain-dead won't be singing Helen for days. The band also isn't afraid to go for a rough pure pop jangle (For Another Man), which gives the album some time to breathe. Nope, no ballads on this one. Only the finest high-octane rock that money can buy. The most joyous, ripping album I've heard since the days of the Buzzcocks! Unknown
Never have I heard a group so sonically similar to The Who during their hooliganistic mid-'60s heyday than The Embrooks and their cacophonous kaleidoscope of wailing musical savagery! The over-amped, demento-distorted guitar-crunch roars with such jangle-rumble ferocity, my ears are now permanently damaged with a ravaging case of Pete Townsend-syndrome (more commonly known as tinnitus); the molten, flesh-meltin' leads and swirling, skin-scorchin' solos are all-at-once ballsy, bluesy, slithering, and psychedelic. Lois, the explosive demolition-detonatin' drummer, is the female equivalent of Keith Moon; only she's more barbaric, brutal, and raucously rampaging with her percussive barrel-poundin' prowess. The bass is a low-end auditory freight train cram-packed with technically proficient storms of seismic sound. Pristinely smooth nasal-wheeze vocals discordantly soar throughout this thunderous onslaught of garage rock rowdiness. Yep, it's a magnificently colossal assortment of structurally perfect noise- blastin'splendor in the vibrant vein of The Kinks, The Yardbirds, Love, and the cream of the Nuggets crop. Our New Day is damn well on its merry lil' way of becoming one of the most aurally blistering faves of my lifetime. Robustly recommended! Roger Moser Jr.
The year's best Rock record comes from a band that perfectly captures the spirit of British Pop circa '66 without sounding contrived. This is a sound whose moment in the sun was far too brief, and The Embrooks are responsible for its glorious resurrection. The Tim Frueh Record Changer. (A-List Top 10 LPs of 2000)
This is a real blast. It's like taking a walk into yesteryear to hear what the music scene of the British Invasion was all about. This Mod, Freakbeat sound is incredible in all ways. These guys take their influences from the likes of the Easybeats, La de Das, Birds and Golden Earrings to name a few. This trio has the entire hip swinging, arm waving, and leg strutting sound down as if they were actually there during this era. Every song is danceable and still has that garage type of feel. The Embrooks' sound is refined and still raw in every way. These guys even have all the "Doo Doo Doo" sing-a-long parts down (this sold me!). The guitar work and vocals even have this eerie echoing style as saying we are the Mods of music past. As cheesy as that may sound, after a good listen to Our New Day you will know exactly what I'm referring to. Like I said this is a real trip into the past with the Embrooks as your tour guides. So get into it and dance, dance, dance! MrDana
Back In My Mind CD EP
Remaining in the soundscape of "their new day", featuring a mod-band-turned-psych-freakbeat, The Embrooks are back on the scene, exploring the "back of their mind" and takin' us back in time. Even more than on their previous release, the initial moody teen-beat turns into a bit heavier 60s audio-mutant. The EP opens with the noisy freakbeat intro, followed by some popsyke MOVEments towards the WOODen melody of the title tune. Another kinda WOODen connection comes with The Time Was Wrong, which sounds like a harder take on The Creation's For All That I Am, but still having its' own identity, and it's appropriately preceeded with A Note In My Drawer and its' pop-art-ish guitar "creations" and power chords reminding of "sorrows" but still making you happy. As usual, the choice of covers remains in the area of "classics that never were", and this release ends with an epic version of Mike Stuart Span's Children Of Tomorrow, a title that precisely describes The Embrooks' role in the concept known as "the sounds of yesterday tomorrow"! Goran Obradovic, Popism Radio
The Embrooks have a new CD EP out called "Back In My Mind". The sleeve is amazing with the guys holding their instruments outside the green Royal Albert Hall, under a purple psychedelic sky! The 4 tracks are: Back In My Mind - stonking poppy track with strong singalong chorus; A Note In My Drawer - slightly more thoughtful with some nice guitar and 'la la' singing; The Time Was Wrong - good multi-part harmony psychedelic ballad. Gorgeous phasing and wild acid guitar solo; Children Of Tomorrow - great spacey vocal stuff. It's a Toe Rag production, so you know what to expect! Parsley Lion, Art Rocker
It seems to be the norm to play '60s inspired music, but make it all post-modern by throwing in punk and rock motifs, these days. The Embrooks however have been forging their brand of '60s freakbeat for the past seven years, without any inclination to throw in some punk and hit the big time. However, just like Billy Childish and his Buff Medways have become stars, it seems that if The Embrooks are ever to gain some critical acclaim, now is the time. This four-track self-released EP is definitely something to impress. The Time Was Wrong is such an accurate recreation of the '67/'68 UK psych sound that experts David Wells and Phil Smee would be fooled. This will also strike a spark in anyone who likes where The Coral and Soundtrack Of Our Lives are coming from. The ideas may be old, but there's nothing laboured in the energy and excitement that this trio extols. Paul Martin, Shindig!
A powerful new release from a group who've already brought us some fantastic beat sounds throughout the last few years. With their songwriting chops reaching some kind of zenith they are now on a quest for a more psychedelic-styled, heavier sound to open our minds still further. They succeed too, without coming over all cheesy and contrived, despite usage of
familiar sound effects beloved of the syke fraternity. A flattering version
of the Mike Stuart Span's epic Children Of Tomorrow shows just what this lot are capable of. Al's guitar playing is really top drawer stuff it must be said. Check out their uncanny reading of The Yardbirds' obscure treasure Think About It on the Trepanner Headmusic sampler for ever more proof of their astoundingly amazing pudding. But it's on their own material that The Embrooks come sharply into focus and shine. Dangerously buzzing riffs reverberate in wilful abandon and the charming title-track takes the listener back through fleeting dreams to a time of naïve childhood innocence. A Note In My Drawer is another infectious piece, deploying multi-coloured rhythmic flashes and squealing lead lines here and there, all kept in check by some fine clattering drum action. The group create a stirringly reflective brood on the well-crafted The Time Was Wrong this time played out in a slightly slower, Creationesque groove complete with choice phased passages and a great end coda. There's also some rather tasteful la-la-la-ing to be found in the vocals department where they come on like The Barrier, another vintage ensemble given heavy rotation by The Embrooks. Cut to the chase, all this is simply light years away from any mod-fixated groups around today. Lenny Helsing
4 tracks from the very prolific Embrooks, one of my favourite groups. Moving a few years forward in their sound covering Children Of Tomorrow and giving us 3 great originals - Back In My Mind, A Note In My Drawer and The Time Was Wrong. Great atmospheric sound, very intense - how do you get so much noise out of a 3-piece??, Ah, they have TWO bass drums! New Untouchables
England's leading contemporary freakbeat/mod band return with a brand new 4-song CD which will wet your appetite until their 3rd LP is completed in 2003. This time, they've brought a harder-driving late 60s European garage rock sound to the mix. There are 3 new original songs, plus a cover of Mike Stuart Span's Children Of Tomorrow. The title track leads the charge with soaring vocals and Who-like ala Armenia City In The Sky anthem sounding music. A Note In My Drawer has a somewhat Yardbirds' Psycho Daisies feel to it with a real nice wah-wah effect. The Time Was Wrong has a distinct 1968 European/Dutch psychedelic sound with some cool phasing touches as well as crunching guitar and controlled feedback. Children Of Tomorrow is a really cool cover of a classic tune. A job well done guys! Steve Elliott, Garage And Beat
Jack/Dawn Breaks Through 7"
It would seem in the absence of an album deal, The Embrooks are 'leaking' an album's worth of singles instead. Hot on the heels of their Back In My Mind CD comes this 220grm 7" in a very attractive colour sleeve. Mole's echoey vocal and his and Al's frenetic bass and guitar pound out a strident, driving freakbeat riff with Lois' busy drum style swelling the sea of sound to fever pitch. A very cool A-side. The flip is a cover of the Barrier's Dawn Breaks Through which employs the same approach and is also more than competently done. C'mon labels, give 'em an album deal! Paul Martin, Shindig!
A brilliant release from those ravers, The Embrooks! Both sides are simply awesome, complemented with superb packaging. Nuff said! New Untouchables
Masters of the freakbeatin’ psychedelic artifactoid pounder set up shop with the coolness that is Circle Records and deliver us an original (Jack) and a cover version of the Barrier’s Dawn Breaks Through. The winner? Us of course! Actually I think Jack is the top side and so the Embrooks continue on their way as one of the very best combos the modern world has to offer. Bless their well-coiffed heads, frilly shirts and stylish hipsters - 2 smokin’ cuts! Colin Bryce, Mohair Sweets
Back In My Mind/The Time Was Wrong 7"
Continuing the loving memories of the 60s are The Embrooks. Back In My Mind is a very cool pop-psych song with a heavy rocking edge. A solid mixture of song and tasty little instrumental bits. And The Time Was Wrong further demonstrates The Embrooks' flair for psychedelia and song craft. Another band I'd love to hear more from. Jerry Kranitz, Aural Innovations
The Embrooks have been around some time now, yet are still capable of bringing out a good tune when they want to! This one, on the wonderful Spanish label Butterfly, is another 7" worth seeking out. The first track, Back In My Mind, has an opening few notes reminiscent of Free’s Wishing Well, but soon drifts into some great guitar heavy garage with more than a hint of pop psych about it - hard to pinpoint who they compare to, but if you’re a fan of The Solarflares, you’d be well advised to check out this too. Second track, The Time Was Wrong, starts with an intro that wouldn’t have sounded out of place on The Who’s Quadrophenia LP, before, well, more of the same to be honest - guitar driven (almost) pop with a psych edge - very nice, but not a million miles away from the a-side. Not necessarily an essential purchase, but an excellent double-header which I’d recommend to any fans of late 60s garage/psych. David Walker, ModCulture
Finally these 2 songs made their way onto vinyl and are especially remixed into stereo for this release. It sounds better than the CD EP version I say. Both tracks are a bit more slow paced than their monster LP Our New Day and are more on the heavy psych side of British freakbeat. Still typical Embrooks stuff here: great vocal harmonies, good playing, with a vintage Toe Rag sound. The sleeve art is quite ugly though!! Peter Kroes, City Trash magazine (NL), and No Good
Switch off your TV, get up, go to the nearest record dealer and grab yourself a copy of this single: you'll have an excellent folk punk masterpiece and you'll know how the early Turtles would have sounded if recorded with the ultimate low-fi technology. A splendid tune coupled with a cool rendition of Fight Fire. Marc Flash, Fever
Reverb drenched psych-beat that would be perfectly at home on any 60's compilation of that style you'd care to name. Funny though cos it ain't a 60's band! And even funnier, I don't get any of that "copyist/ revivalist" vibe. While The Embrooks have a moody and (sometimes) dark sound, their tempos never allow the songs to slip into too dark a state. A very unique sounding band and approach. None of these tracks appear on their new LP either, making this a definite collector's item. Arthur Green, Mohair Sweets
The Embrooks finally get a full-lengther in the racks. Great bloody stuff it is too! Alessandro Cozzi-Lepri's guitar soundings are a key element in The Embrooks' arsenal. No power chord maniac, this guy plays edgy arpeggios and like his Jaguar guitar's namesake, creeps out of the bushes to take short sharp stabbing solos then leaves the scene before you have a chance to catch a real glimpse of the culprit. Former Mystreated man Mole, on bass and vocals, bubbles and speaks the words of big beat wisdom from deep inside the reverb drenched mix. Behind the kit for The Embrooks is the mistress of the beatin' rhythm, Lois Tozer. Dig her pounding and crashing on the standout cut How You Want It, or her McCarty-esque tact for the groovin' I'm Not Mad. This is a must have for fans of the '60s Mod or Garage scenes. It's limited in numbers though so be sure to grab it if you see one. And in response to the leper's gift, thanks for the tip! Colin Bryce, Mohair Sweets
2 great sides from this UK beat band who are getting better with every show. This is their best release to date with a storming version of the Red Squares song. More Than Ever also gets an uptempo beat bashing. Pick this one up, you won't be disappointed. Rob Bailey, New Untouchables
The Embrooks return with yet another outstanding release! Plain and simple,they have it in spades. From Lois’ tremendous snare fills and cymbal smashes to Alessandro’s short sharp lead shocks and Mole’s harmonious double pumping bass this is THE real Freakbeat deal. Every lame second class garage (read punk) act is gonna be claiming "freakbeat" as their "sound" this year so be warned! Start here and you won’t be fooled by the pretenders. Hints of Dutch beat and raving R&B coupled with Liam Watson’s masterful sound of the sixties. And all recorded in glorious MONO! Colin Bryce, Mohair Sweets
Fans of The Creation, Wimple Winch and Q65 will get a charge out of The Embrooks. This is some of the coolest mod-psych rock & roll I've heard from a new band in years. Recorded by Liam Watson at legendary Toe Rag studios, England's Embrooks deliver a hip shaking, mind melting slab of pure action. Vocal duties are split between guitarist Al, and bass player Mole . Crunching guitar tone and some trippy bass playing all congeal with Lois' Keith Moon-ish drumming style to deliver a sound that you can either shake yer arse or blow your mind to. A sharp dressed band to boot. As if that weren't enough, it's on Voxx Records. Need I say more? Dig it, you square! Merle Knurling
Just received a new Embrooks release; it's called "Back In My Mind", and features 4 songs - Back In My Mind (excellent Mole original that could quite easily be an unreleased Mike Stuart Span track); A Note In My Drawer (driving freakbeat penned by Al, which features plenty of heavy psych wah-wah, a stompin' beat and some pure '67 la-la-la's); The Time Was Wrong (possibly my fave song - this Mole/Al collaboration has a strong Rubble feel, and thanks to Liam Watson, the sound is pure late '67! A gem, and so authentic it could fool Phil Smee! This is The Embrooks at their best - more like this one please!!); finally, a fairly decent cover of band faves Mike Stuart Span's Children Of Tomorrow ends the CD. A nice stop gap until the next LP! Sod The Hives and White Stripes and go for The Embrooks!
Jon 'Mojo' Mills, Shindig
The world's greatest power-trio comes back with yet another piece of plastic, heavier than ever. Actually it's so heavy that, each time you listen to it you'll need someone to help you put it on the turntable, and on the other hand, it'll be good to have someone around to dance with, cuz this one's sure to make you move! The sound is just as heavy, staying in line with the band's recent freakbeat leanings. The a-side tells a story of a "strange old man" named Jack, making a perfect sequel, soundwise and storywise, to the one about his namesake (or is the same guy?) who's got famous for eating sugar lumps. Also, this one would have fitted so nicely on the Our New Day album, that it makes me wonder if it comes from the same session as the album opener Standing Upside Down. Continuing their mission of re-introducing groovy 60s classics of the genre, slipping them through their own sound-prism, the b-side finds The Embrooks beating the freak out of The Barrier's own debut 7" b-side Dawn Breaks Through. Though it seems strange that The Embrooks are still looking for the next long-playing record deal, considering the colourful '60s influenced picture sleeve coming with every release of theirs, it would be a shame not to have them every now and then, which comes as a result of frequent single releases. Goran Obradovic
The highly rated and consistently excellent Embrooks get a couple of sides together for release on Spain’s cool Butterfly label. Trippy guitar and period production (courtesy Liam Watson) cement the tunes to the vibe. And to borrow a line from the decidedly un-freakbeatish Carly Simon hit, I think it most true to say that, indeed, nobody does it better. Get it before it goes all rare and stuff! Colin Bryce, Mohair Sweets