Search - Romantics :: 61/49

Back From The Abyss...

Clark Paull | Murder City | 04/20/2004

(4 out of 5 stars)

"It's been one long-ass haul for Detroit's Romantics. Nearly a quarter-century since their debut album was released, these guys have pretty much seen it all, both good and bad. At their peak, they were world beaters atop the power pop mountain. Their nadir was seven years spent in litigation limbo, successfully battling ex-managers for control of their publishing rights and music catalog. I'm sure they're tired of hearing the "S" word (you know - the one with a first syllable rhyming with "cur" and a second rhyming with "jivers"), so I won't mention it here. Although their commercial zenith came in the form of two top 10 singles from 1985's "In Heat" album, it's those first two hook-riddled discs ("The Romantics" and "National Breakout") featuring the original lineup (with the band's alpha male, drummer Jimmy Marinos, and bassist Richie Cole), and those red leather suits, that punters here in the Murder City will forever hold close. Working a little lower on the radar than say, The Knack, both albums are overflowing with tough, energetic, and loose rave-ups like modern-day frat rocker "What I Like About You," "Little White Lies," "Tomboy," "Stone Pony," "21 And Over," and "Girl Next Door." Doug Fieger may well have offered up his left nut for such a canon. Which brings us to 2003 and "61/49," the first Romantics album proper in nearly 20 years - I'm still trying to decide if 1994's "Made In Detroit" EP counts - either way, the very thought makes me cringe. Original members Wally Palmar (vocals, guitar, harmonica) and Mike Skill (bass) are once again joined by long-time bandmate Coz Canler (guitar) and have implemented a revolving stool policy behind the drum kit, with Marinos, Clem Burke (apparently double dipping with Blondie), and ex-Detroit Wheel Johnny "Bee" Badanjek all taking a turn. Besides finally getting to hear some new tuneage from these hardscrabble survivors, uh, veterans, "61/49" is especially heartening in that the group have decided not to tinker too much with their trademark punchy, fiery, guitar-driven blend of British Invasion and scrappy R&B. The title is a tip of the hat to the crossroads in Clarksdale, Mississippi where seminal bluesman Robert Johnson allegedly cut his deal with the de'bil but it's doubtful the band had to resort to such drastic measures to craft what can't rightfully be termed anything but a "comeback," although it may have seemed they were fighting a fallen angel or two during that protracted court battle. Based on some of the song titles and lyrics on this album, it may appear as though they've found religion anyway. "Devil In Me" swaggers in with Canler and Palmar's instantly recognizable chiming guitars, Palmar grunts "Owwww" and two things are immediately apparently: these guys haven't lost a step and Palmar isn't singing about the Goat Lord. Skill, Canler, and Palmar have certainly perfected the perfect pop song about girls, if not raised it to an art form, and this one has radio airplay written all over it. Palmar ain't half bad on harp, either, and isn't afraid to stretch out a bit (actually quite a bit - he blows the hell out of it on several songs). What's immediately noticeable about "61/49" is that it may be the noisiest Romantics album yet, thanks in part to it being recorded at Jim Diamond's Ghetto Recorders on vintage analog recording equipment ("'cause digital's for suckers"). The title track, in particular, benefits from a thick layer of fuzz and distortion that really packs a wallop, almost like a demo submitted as an audition for the house band at Fat Possum Records. If you're still not convinced this is a group on a mission (from God or otherwise), check out yet another nod to a higher power, "When The Angels (Hear Me Callin')," with its velvety harmonies, jangling guitars, and enough hooks to reel in a school of pirahna, or "Out Of My Mind (Into My Head)," which is cut from the same sonic fabric as their early singles on Bomp. Coming full circle, the band knock the snot out of another Kinks song, "I Need You," like they did on their first album with "She's Got Everything," and end the album with the dreamy psychedelia of "Paint The Sky" and the rather solemn Beatlesque "Still We Remain," a song almost guaranteed to inspire flickering cigarette lighters in a live setting. During The Romantics' long, lost weekend, while the band was spinning its wheels in a nightmare world of subpoenas, motions, suits, and countersuits, Palmar and Canler would occasionally come out of hiding in and around Detroit, looking rather downtrodden, but still holding their heads up high enough to sit in with locals like Black Market. The low point for Palmar may have been when some mental midget half-heartedly chucked an empty beer bottle at him across a crowded St. Andrew's Hall lobby. The look in his eyes is something I'll never forget. "61/49" is the return volley he and the rest of the group have been waiting too long to launch. Welcome back, guys! First round's on me."

WOW!!!!!!!!!! , YOU WON'T BE DISAPPOINTED

Pat L. | Grand Rapids, MI | 02/15/2004

(5 out of 5 stars)

"While at college, My roommate and I worn down the stereo needles listening to " The Romatics (1st album), National Breakout, Strickly Personal and In Heat." This album (CD for you kids)is about redemption and respect. The Romantics put a collection of tracks together that will not disappointment the listener. They really did it right this time with their song selection, writing and personnel. The songs will immediately grab a Romantics fan from the start. You don't have to be a Romantics junkie to enjoy this one, you just need to know great music when you hear it."

Detroit Rock City... and beyond

ADK | Royal Oak, Mi. United States | 11/14/2003

(5 out of 5 stars)

"This is a(nother) fine example of the spirit and staying power of Detroit Rock City.
On 61/49 there is a mixture here of primarily 60's British clang and Detroit bang with just a hint of Southern U.S. blues while that inherent, infectious, classic Romantics sound is ever present.
Superb solid and swinging drum contributions are made by local rock legends Jimmy Marinos and Johnny Bee as well as newest member Clem Burke (of Blondie fame). The sounds of American made guitars overdriving British amps provide the ifectious rhythms. The group's main members as well as a few select guest musicians all supply great performances.Congradulations to the boys for this damn good recording, which same as the city of Detroit, exemplifies the inner and outer spirit of Rock and Roll...coarse and real with a just a drop of polish."