Mitchell Cohen on The Records

Starry Eyes The Records UK power pop group 1978-1982 makers of Teenarama Shades In Bed Crashes
Music On Both Sides www.therecords.com created by Will Birch of The Records makers of Starry Eyes

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Mitchell Cohen on The Records, published in Creem magazine 1979

The Records: The Records

Mitchell Cohen, Creem, November 1979

MEMORANDUM
From: Carraway LP Analysts, Inc.
To: CREEM Magazine
Re: THE RECORDS

PRELIMINARY LISTENINGS to the current record album and accompanying extended-play disc by THE RECORDS (4-piece standard configuration, augmented by keyboards) reveal this band to fall somewhere between the north of innocence and well to the south of cynicism. On a few tracks the intent is calculatedly 'teenage' in theme, but the musical attitude is comparatively sophisticated, and the playing adroit and knowing, so it is obvious that The Records are no novices. (Indeed, perfunctory research indicates that the prime creative component – writer/drummer Will Burch – was previously a member of a band of some reputation in Britain: see KURSAAL FLYERS for further elucidation; and that The Records have had an association with Stiff Records, and Rachel Sweet in particular, e.g. 'Pin A Medal On Mary') Their new single, an extremely buoyant song called 'Starry Eyes', with a Byrds-derivate guitar line, is noteable, for being concerned with a professional (seemingly band-manager) conflict, and tough-minded at that, without sacrificing either catchiness or humor (i.e., "The writ has hit the fan"): such a combination should take the quartet far.

While the aforementioned 'Starry Eyes' is the most obvious focal point of The Records, there are a number of other cuts that incorporate the fundamentals of late 1960's pop-rock into a clean, professional and altogether likeable framework. The Records (the other three members, whose history has not been uncovered by our agents, are guitarists John Wicks and Huw Gower and bassist Phil Brown; all sing) are unique in that they fuse a spirit that has Mersey elements with a distinct post-Revolver modernism; instrumentally, they aim for a streamlined clarity, while vocals are tricked up, even tampered with electronically (the word 'me' on 'Teenarama', for example, is fractured and elongated in the mode of Hicks-Clarke-Nash, and there is a whole lot of Lennonesque phasing going on throughout the LP: 'Up All Night' has been analyzed as a conversion of 'I'm Only Sleeping'). They know their craft well, and are ingenious song-architects. 'Girl', 'All Messed Up And Ready To Go' and 'Affection Rejected' make real structural sense, and are fun besides.

Thematically, as implied earlier, The Records are hopeful realists, beyond illusion. They think a lot, which may be one reason for their 'insomnia'. They reason before they act: 'Teenarama' is a sweet and sour bit of nymphet-attraction that goes wrong. "I wanted a change of style/To be with a juvenile for a week" (note the internal rhyme), Wicks (?) sings, only to be dismayed by the girl's dietary habits (sugar candy, c-c-c-Cola) and "all that melodrama" that comes with young lust. An excellent song. 'Girls That Don't Exist' chronicles the poignant disappointment that results when comparing the kiss of a real-life girl to the fantasy photos on posters and in magazines. Their only crucial misfire is on the closing 'Another Star', rank sentimentalism in the manner of 'Mirror Star' by the cutesy Fabulous Poodles.

As a marketing device, The Records' record company has inserted an additional 7-inch EP in the album package, on which the band does interpretations of four non-original songs of varying vintage. Conceptually, it would have worked better if Spirit's '1984' were replaced by The Byrds' 'Have You Seen Her Face' to go along with 'Seen My Friends' (Kinks), 'Have You Seen Your Mother Baby' (Stones) and 'Abracadabra (Have You Seen Her)' (Blue Ash), but that's of no importance. Performances: unexceptional (the Ash-Kinks side has a definite edge). Taste: fine and off-beat. Value: somewhat misleading but instructional guide to band's U.S./U.K. sources.

In closing: a recommended record (especially side one) in a thriving genre of 'new professionals' from England who were spawned by the pub-rock environment (see: BRINSLEY SCHWARZ, DUCKS DELUXE and indexed spin-offs) and accompanying trends, who believe in song and in image, and who counter-balance personalityless 'industry rock'. We hope this report has been it some use in determining the quality and kind of THE RECORDS. An invoice for the firm's services is attached.

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