NDN Records proudly presents:
Artist: The Barracudas
Title: The Barracudas
Cat. No.: NDN 41
Other: 15 new tracks, recorded in 2005
THE BARRACUDAS ARE BACK!!!
Autumn 2003 and in a moment of patent absurdity the unthinkable happens. Again. A telephone rings
and a venerable cult lead singer answers to hear the voice of his fellow founder member and foil
outlining an unlikely live show in Madrid. Considering the fact that their last rehearsal is now
over ten years in the past, the singer is for a moment unnerved. Then instinct kicks in and, a
few days later when the guitarist has had a chance to perform an unreality check, the plotting
The band is The Barracudas and the story very much in step with a career wayward at best. But
this time it is different. A reformation a decade before had come and gone accomplishing little
more than bilious nostalgia; this time, with egos subdued and music to the fore, a momentum
establishes itself and in little time produces a new single, THE glam turn “Don't Ever Say It
Can't Be So”, a showcase in Madrid, a documentary and, finally, a new, eponymous album.
Their first in over ten years, The Barracudas is no nostalgia trip. For one thing, the engine
room has been retooled, with new rhythm section Robert Coyne and Yan Quellien providing a
backbeat of magisterial proportions. Coyne, however, will not stop at bass guitar, and also
contributes a host of instruments, arranging and one remarkable song to add to the others written
by Robin Wills and Jeremy Gluck. And fundamental to the resurrection, the return of former
Flamin' Groovie and Barracuda Chris Wilson, returning in a guest star role with stunning vocals
and a new song that nestles nicely in the 'cudas canon. Recorded largely at north London's
renowned Cowshed Studio and a veritable living museum of prize gear, Berry Street Studios, and
produced by Wills, this is the Barracudas album that not only fans but also the band themselves
have been waiting for since "Drop Out", their legendary EMI debut launched them on a journey of
sound that would take them from snotty surf punks to the new Groovies in a few years, then
deposit them in no band's land until the CD surge and sundry attentions revived their fortunes.
As a cursory look at radio playlists and cult whisperings will attest, The Barracudas
reappearance after so long could not be better timed. Garage music is in fashion (again) and so
is surf (well, Brian Wilson, and let's face it they might as well be synonymous). Power pop,
likewise, from a 45 grave, has risen to reassert its importance. Indeed, all the styles the band
have mastered and made their own are now current and selling. And another thing: The Barracudas
sounds younger than yesterday but with experience supplying an edge that cuts across time to the
heart of the band.
The Barracudas is simply the sound of survivors with nothing to prove and their enjoyment audible
in your ears and guts. In twenty-five years they have changed only to go back to where they
started, with an irrepressible enthusiasm and unbending intent to make their own kind of music.
From the stunning “Poor White Trash” to the kooky economy of “I Believe Everything”; from Groovie
Chris Wilson's wonderful “Mirror” to Coyne's crunchy instant classic “Something New”, this is an
album that will excite longtime fans and endear many more new listeners. It's the way it's always
been: The Barracudas, a band determined to make it real...one more time.
Click here to listen to "I Believe In Everything" off "The Barracudas"
"So what has been? Thirteen years since the last BARRACUDAS album? Can't be far away at that and in true quality over quantity tradition they'll be back in
the racks very soon. Indeed the single "What You Want Is What You Get" will be out in April. A rip-snortin' taster for a full length return to form that will
confound the most ardent cynic. A big part of the elixir coming to life is the appropriation of a couple of Scoundrelles by Messers Gluck and Wills. They
needed guys that weren't hacks. People who had the spirit to take their janglefest to a higher plain and Rob and Yan provide that spark. From the opener,
"Poor White Trash" they're outta the traps with gusto. Pure punchin' the air rock'n'roll thrills. "I Believe In Everything" is the best Steve Earle song that
Sir Duke never wrote but might if he got a serious dose of Roky Erickson.
Chris Wilson's involvement is pivotal and makes the album the closest thing to a Sire period Flamin' Groovies that you're ever gonna get. The 'cudas could
always belt out a top notch Byrdsian rattle but Wilson's distinct sound adds that final autenthic edge far beyond any mere tribute. The songs are great and
the glamtastic "Don't Ever Say It Can't Be So" is something that I'm sure must have tickled the late, great Greg Shaw. It's like everything Bomp ever stood
for rolled up into one big glitter bogey and flicked at radio programmers daring them to have the audacity to help make it the hit it deserves to be. With
the Munster single of the cut long gone it's good to have it available again.
To be hit up track after track like this is actually quite moving. Transporting me back to a time when everything was possible, when it seemed like
rock'n'roll actually had a chance. "Not That Kind" continues the anthemic upbeat notion of the sound while exploring the sheer isolation of not figuring into
society. That crossroads which provides the anguish on which we seem to thrive whilst wishing we could turn the tables. Sometimes I hear people say that it
wouldn't be much fun if we all liked the same things. What utter liberal mealy mouthed bollocks.
This music in my opinion is pretty much as commercial as you can get. It will reduce some of you folks to tears I'm sure and it'll induce that feeling that
you've maybe not had too much lately. The one that evokes some kind of faith in what you're listening to. The one that seemed to have got away. However
shortlived that instinct is we shouldn't take it for granted. "Take a Walk" sounds like The Fleshtones syphoning The Ramones and I imagine I hear Gordon
Spaeth providing his trademark honk to fatten it all up.
"Nothing Ever Happens (in the Suburbs Baby)" would be an ideal stadium singalong where ol' Jezza could offer the mic out to the sea of people and they'd all s
ing it back. "Don't Let The Feeling Go" is the final salvo which brings down the pace to an almost hymnal flex. It recalls the days of "His Last Summer" and c
ruising in that old Daytona recalling past glories. "It may be a long time til the next one comes around" goes the lyric. To this very day, the Barracudas
wave indeed still soars and hopefully a whole new generation will get with the program. This sequel takes up where they left us all those years ago. Who
could reasonably have thunk it..." (Lindsay Hutton - review in The Next Big Thing).
Click here to visit The Barracudas homepage
Also out on NDN Records: Semi-Truth: 7": "You Call" (NDN 21). Semi-Truth is Jeremy Gluck's other band...
For further info, interview requests, etc., contact Henrik at NDN Records.
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