Continental Drifters: “White Noise & Lightning: The Best Of Continental Drifters” (2024) CD Review

This is a great time for Continental Drifters fans, what, with the release of a biography of the band and a two-disc tribute recorded by some outstanding artists. It’s also a great time to become a fan. Omnivore Recordings released a compilation of the group’s best material, titled White Noise & Lightning: The Best Of Continental Drifters. It contains material from each of the band’s four full-length albums, as well as a track from a single, and the disc’s liner notes do a good job of listing the band members for each of those releases, for there certainly were some changes in personnel. The liner notes, by the way, were written by Sean Kelly, the author of the band’s biography, White Noise & Lightning: The Continental Drifters Story, which was published in late September. This compilation includes one previously unreleased track, a live recording of “Who We Are, Where We Live.” Are there some great songs missing from this compilation? You bet there are. Hello, “Anything”; hello, “Snow.” But there is more than an hour of music here, and every song is a winner, this disc providing a damn good selection of the band’s material. This is a perfect place to start.

The disc opens with “The Rain Song,” a song written by Susan Cowsill and Vicki Peterson, and originally included on Vermilion. And, yes, if you are not yet a fan of this band, you probably still recognize those names from The Cowsills and The Bangles. The band at this point also included Mark Walton on bass, Russ Broussard on drums, Robert Maché on guitar and Peter Holsapple on keyboards. The song’s first line, “Well, I don’t think about us much anymore,” is interesting, because it’s a line that we don’t entirely trust or believe. After all, she’s thinking about the relationship enough to sing about it. And so an interesting tone is created from that very first line, drawing us in. And by the end she is singing, “Yeah, I remember you.” There is a hint of a Byrds feel to some of the guitar work. Also from Vermilion comes “Christopher Columbus Transcontinental Highway,” which was written by Vicki Peterson. There is a strong energy to this song, and it feels like a vehicle bearing down on us, threatening to lose all control. Part of it is that rhythm, but Vicki’s vocal performance also has that energy. There are moments when I’m reminded of Leslie Knauer. This song’s first line puts us in a specific time and place, a highway in Los Angeles after the 1994 earthquake. The lyrics also give both this album and the biography their titles. There is a seriously cool instrumental section, which begins after Vicki calls, “Go, Robert, go!” This is a good song to add to your road trip play list.

“Dallas” comes from Nineteen Ninety-Three, which was recorded before Vermilion but released after it. Actually, this is the last of the four albums to be released, but the first to be recorded. The band at this point is made up of Mark Walton, Peter Holsapple, Carlo Nuccio on drums, Gary Eaton on guitar, and Ray Ganucheau on guitar. The sound might be different, but it feels just as right. There is a glorious power behind this song. “Not old enough to know any better/But all roads led to Dallas/I remember it in black and white.” This song was written by Gary Eaton, and it contains some good work on guitar. It is followed by “Mezzanine,” a song that comes from the band’s self-titled album, which was the first one that was released. That was in 1994. The band then was made up of Mark Walton, Carlo Nuccio, Robert Maché, Vicki Peterson, Susan Cowsill and Peter Holsapple. This song was written by Carlo Nuccio, and it has a cool country flavor. “I reflect on the world that I’ve seen/Between the ground floor and the mezzanine.”

This collection takes us back to the Nineteen Ninety-Three album for “Invisible Boyfriend,” a song written by Peter Holsapple (and, yes, for those who are not yet fans of this band, Peter is from The dB’s). This is such a good song. It deals with grief, but grief observed rather than felt. It’s about how after losing someone, you carry that person with you, still wanting to share your experiences with him, to the point where others can feel that person. “Sometimes I think I can see him myself/With arms wrapped around her, the picture of health/Grinning at her just as they were/Before the impossible happened.” Yeah, this is a group of songwriters, all of them incredibly talented. And that line about the man of her dreams returning to a dream knocks the air out of me. “Match Made In Heaven” is also from Nineteen Ninety-Three, this one written by Gary Eaton. Check out its opening lines: “Things change just a little too fast/You’d better keep your eyes open/Or you’ll miss it/Who’s the man sleeping in your bed/Just a little boy with a gun to his head.” This is a band whose lyrics you want to listen attentively to. But even if you don’t, you can enjoy this song.

“The Mississippi” is the song that comes from a single released in 1992, the first release from this band. It was written by Carlo Nuccio and Ray Ganucheau, and was recorded as part of a six-song demo. The band then was made up of Mark Walton, Carlo Nuccio, Gary Eaton, Ray Ganuchea, and Danny McGough on piano. But Susan Cowsill, Vicki Peterson and Peter Holsapple are present, providing backing vocals. “I miss my family and I miss my friends/I’m sure someday I’ll get back to them.” I love Carlo’s drum work on this track. This track also contains a really nice guitar lead in the second half. That’s followed by “Get Over It,” a song from the band’s self-titled album. It was written by Mark Walton, though it is Susan Cowsill who sings lead. She delivers a fantastic vocal performance. Some of the guitar work has a 1960s flavor, like a slightly sped-up “Wasn’t Born To Follow.” Here is a taste of the lyrics: “Please don’t shout anymore/I can’t stand to sit around and watch you slamming my doors/Show some sense and respect/Learn to cope and get over it.” This is a song you’ll probably be singing along with soon enough, even shouting along with.

“Mixed Messages” also comes from the self-titled album. This one was written by Vicki Peterson, and it has more of a pop vibe. And a wonderful pop vibe it is. “You keep your thoughts to yourself/To keep me guessin’ as we’re undressin’/Then you’re gone for days on end/And here we go again/Here we go again.” That’s followed by “Don’t Do What I Did,” which was written by Peter Holsapple. This one comes from Vermilion, and begins with a strong beat that is ready to propel us all forward. This song has more of a raw, rocking thing happening, with a great energy, on the edge of punk. It’s a lot of fun. “If you’re miserable now, just wait/It only hurts all the worse/Like a presence that won’t leave/It makes it hard to breathe.” Just fantastic.

Then we get a few songs from Better Day, which was released in 2001. The band on this album is the same as on Vermilion. The first of these songs is “Tomorrow’s Gonna Be,” written by Mark Walton and Tom Boles. It’s a song dripping with sarcasm on lines like, “I know it’s okay/Tomorrow’s gonna be an even better day.” What’s strange is that even though there is a great bite to this song, we find ourselves believing those lines, or at least wanting to believe them. This is such a cool song. And I love the backing vocal work. The second of the songs from Better Day is “Na Na,” written by Vicki Peterson. “This is the story of my life/Somebody’s little girl to someone else’s wife/What happened in between/Is the dying of a dream/And that’s the story of my life,” she sings at the beginning. Wow. And then when it kicks in, it becomes undeniably catchy, and so you find yourself dancing to this story. And check out that guitar work. This is a really good song. It is followed by “Peaceful Waking,” which was written by Russ Broussard and Susan Cowsill. It’s a beautiful song, in large part because of Susan’s vocal performance. “And when your heart is cold/I will wrap you in the blanket of my soul/And when it’s all too much/You always know you got somewhere to go.” I also love that acoustic guitar work.

“Drifters” is a sort of theme song for the band, with lines like “It’s been a long haul/L.A. to LA” and “We are all drifters/Singers and sisters/Brothers and lovers and mothers and confidantes/We were born alone/We’re alone when we’re gone/So while we’re here/We might as well just sing along.” Those lines basically invite us into the group too, urging us to sing along. Might as well. This song was written by Susan Cowsill and Peter Holsapple, and was included on Vermilion. This compilation concludes with its one previously unreleased track. And first off, if you’re thinking that because you already own all the band’s albums, it would be crazy to purchase another disc just for the one song, let me tell you this track is twelve minutes long. So it makes up a significant portion of the disc. Plus, it’s one of the band’s best songs. It’s a live version of “Who We Are, Where We Live,” recorded at The Court Tavern in New Brunswick, New Jersey (the liner notes don’t mention the concert date, which is a shame). There is a bit of playful stage banter at the beginning. This song was written by Vicki Peterson, and the studio version of it is on Vermilion. Like the studio version, this live version eases in, and has a haunted vibe at the start. And while the energy soon increases, that haunted feeling remains. And when that guitar come rumbling over us, we feel completely immersed in the song. Interestingly, there is actually some more playful banter in the middle of the track, just before that gorgeous vocal part. The band, by the way, is the same as on Vermilion and Better Day. The song becomes a wild and fantastic jam. What a spectacular way to end this collection.

CD Track List

1. The Rain Song
2. Christopher Columbus Transcontinental Highway
3. Dallas
4. Mezzanine
5. Invisible Boyfriend
6. Match Made In Heaven
7. The Mississippi
8. Get Over It
9. Mixed Messages
10. Don’t Do What I Did
11. Tomorrow’s Gonna Be
12. Na Na
13. Peaceful Waking
14. Drifters
15. Who We Are, Where We Live

White Noise & Lightning: The Best Of Continental Drifters was released on September 13, 2024 through Omnivore Recordings.

The Blasters: “Over There: Live At The Venue, London – The Complete Concert” (2024) CD Review

There were several excellent albums released on the Black Friday version of Record Store Day, and fortunately some of those records are getting CD releases too. The Blasters’ Over There: Live At The Venue, London – The Complete Concert, put out as a double LP, is one that is getting a deserved wider release on CD. It contains the concert The Blasters performed on May 21, 1982. Six songs from that show were previously released on an EP titled Over There (Live At The Venue, London), which came out in 1982 (and had the date erroneously listed as May 22nd). And another four songs were included on Testament (The Complete Slash Recordings). But this is the first time the entire show is being made available on vinyl and CD. The album’s cover is close to that of the original EP, though for some reason on the back cover Gene Taylor’s name is missing. The band is made up of Phil Alvin on vocals and guitar, Dave Alvin on lead guitar, Bill Bateman on drums, John Bazz on bass, Gene Taylor on piano, Lee Allen on tenor saxophone and Steve Berlin on baritone saxophone. This show contains a mix of covers and original songs.

The first track includes a short introduction, and the band adds, “We’re The Blasters, so we’ll play now.” And they open the show with “This Is It,” a song from the band’s 1981 self-titled album. Immediately there is a great rock and roll energy, and lines like “We’re going to have a time tonight” make it a good choice of show opener. There is some excellent stuff on both keys and guitar. This band is off to a tremendous start. “Here’s a little number from Oklahoma,” they tell the audience, introducing “Crazy Baby.” The Blasters included it on their first album, 1980’s American Music. It has a delicious drum beat, coming at us at a fast pace. “Let’s rock again,” Phil says, and things rock even more at that point, this track featuring strong stuff on guitar and a fantastic conclusion. They return to the self-titled album with “No Other Girl,” written by Dave Alvin, one of the disc’s highlights, in part because of that outstanding lead on piano. This song comes moving along with an unstoppable force.

“What Will Lucy Do?” is introduced as a “swamp blues piece.” This is a song written by Frankie Lee Simms, and it is also known as “Lucy Mae Blues.” The Blasters do a great job with it. That’s followed by “Border Radio.” “Where we come from is next to Mexico,” they tell the audience in the song’s introduction. “And Mexico has more wattage than American radio stations, so everybody calls up Mexican radio stations and requests songs.” This is another song that was included on the band’s self-titled album. It was written by Dave Alvin, and is a great song. It was also included on Mandatory: The Best Of The Blasters, a compilation that was released last year.

“I Don’t Want To” is one of the songs that was included on that original Over There EP. It comes from American Music, and was written by Dave Alvin. “They try to get me to shut my mouth/They’re watching every move I make/Telling me that I’m going to regret every stand I take/They tell me that’s what I should do/But I don’t want to.” Oh yes, this is rock and roll, the attitude, the movement, the fun. This track features some delicious work on guitar, and is over before you know it. That’s followed by a seriously cool rendition of Edwin Bruce’s “Rock Boppin’ Baby.” Before they start the song they mention that the band’s drummer is in the dark. “Put a spotlight on the cat.” This song was also included on the 1982 EP.

“Right now we’re going to turn things over to Gene Taylor here,” they tell the crowd, and the band delivers a fun rendition of Rocket Morgan’s “Tag Along,” a song The Blasters would include on the 1983 album Non Fiction. Gene is totally rocking the keys on this fast-paced rendition. Oh yes, you can feel the heat from this track coming right out of the CD player. That is followed by a high-energy rendition of “I Love You So,” a song the band included on that self-titled album. Here Phil sings, “In the morning, she’s all right/In the evening, she’s still all right,” lines that make me smile every time I listen to this track. The band jams on this one a bit at the end. They then get into the blues, giving us a cover of Slim Harpo’s “Got Love If You Want It” that includes some nice stuff on harmonica. “We can rock a while/Stop teasing me, baby.”

“Turn it over to Lee, he’ll do some of that ‘Walkin’  With Mr. Lee.’” And yeah, now we get the horn section of Lee Allen and Steve Berlin helping to deliver a wonderful rendition of “Walkin’ With Mr. Lee,” an instrumental tune that Lee Allen And His Band released on a single in the late 1950s. This track is a total delight, one of my personal favorites from this release. That’s followed by another delicious cover, “I’m Shakin’,” which was written by Rudy Toombs. The Blasters do such a great job with this song. They included it on the self-titled album. This song was also included on Live 1986, which came out in 2011. “I can’t move around and I can’t stand still/I’m so jittery.”

“Here’s a little New Orleans-type piece about Hollywood,” they tell the crowd, introducing “Hollywood Bed,” a song Dave Alvin wrote. It was included on the self-titled album, and is a ridiculously fun number, one of my favorite Blasters songs. It was also included on Mandatory: The Best Of The Blasters. This concert version features some excellent stuff on saxophone, and is a highlight of the disc. Hell, it even has a cha-cha-cha ending. That’s followed by a cover of Roy Orbison’s “Go, Go, Go,” one of the tracks that was included on the original EP. Again, there is a ton of energy here. The fun continues with “Stop The Clock,” a song written by Bob Ehret and Damon Robertson, and originally recorded by Bob Ehret.

The Blasters then deliver one of their most popular songs, “Marie, Marie,” first acknowledging how someone else had a hit with it in the UK. This song was the lead track on the band’s self-title album, and was also released as a single. It is a totally enjoyable song, and it is over way too soon. That’s followed by the title track to American Music, written by Dave Alvin, and here dedicated to Brian Setzer of The Stray Cats. “Well, it howls from the deserts/It screams from the slums/The Mississippi rollin’/To the beat of the drums/They want to hear some American music.” I love the guitar work on this track. “How the whole world digs that sound from the U.S.A.” Then Lee Allen and Steve Berlin shine on “So Long Baby Goodbye,” a song that comes from the self-titled album. This is another that moves at a good clip and is a highlight. That’s followed by a cover of “Roll ‘Em Pete,” a track that was included on the EP, and one that features some great stuff on piano and saxophone. This one rocks and pulses and seems capable of lifting the entire venue at least fifty feet into the air. There is enough energy to power a couple of major cities. Just a fantastic performance. Apparently that was the final song of the set.

But the crowd was not done with them, and The Blasters returned for an encore, which began with a cover of “High School Confidential,” the Jerry Lee Lewis song, another of the tracks included on the original EP. As you might guess, there is some exciting work on keys here. Afterward, they tell the audience they’ll do a couple more. “We’ll do a little ballad, then we’ll rock out of here.” The ballad is a sweet and excellent rendition of Otis Redding’s “These Arms Of Mine,” featuring saxophone. They then seriously rock on their cover of Little Richard’s “Keep A Knockin’.” This one was included on the EP, and features more fantastic work on saxophone. After that song, they leave the stage again, but the crowd is still hungry for more, and so out the band comes again, wrapping up the show with “Barn Burning,” a song written by Dave Alvin and included on American Music. One last rockin’ number to please the eager audience. The audience is still calling out for more at the end, but the house music soon comes on. And that’s that. One hell of a good live album.

CD Track List

1. This Is It
2. Crazy Baby
3. No Other Girl
4. What Will Lucy Do?
5. Border Radio
6. I Don’t Want To
7. Rock Boppin’ Baby
8. Tag Along
9. I Love You So
10. Got Love If You Want It
11. Walkin’ With Mr. Lee
12. I’m Shakin’
13. Hollywood Bed
14. Go, Go, Go
15. Stop The Clock
16. Marie Marie
17. American Music
18. So Long Baby Goodbye
19. Roll ‘Em Pete
20. High School Confidential
21. These Arms Of Mine
22. Keep A Knockin’
23. Barn Burning

Over There: Live At The Venue, London – The Complete Concert was released on vinyl on November 29, 2024, and is scheduled to be released on CD on December 6, 2024.