Judy Henske - Big Judy: How Far This Music Goes (1962-2004)

Reflecting on her four-decade-and-counting career, Judy Henske recently remarked that “my music… was not folk, or jazz or blues, but something indescribable between all those styles.” The lack of an easily marketable label no doubt cost Henske some record sales back in the day, but it is her eclecticism—well represented on Rhino Handmade's new anthology Big Judy: How Far This Music Goes (1962-2004)—that keeps her sounding fresh today.

Born in Chippewa Falls, Wisconsin, Judy Henske first hit the spotlight at the beginning of the 1960s as a member of The Whiskeyhill Singers, an offshoot of the Kingston Trio. But a talent and stage persona as big as Judy's was destined to stand on its own, and by 1963 she had signed with Elektra Records and issued her solo LP debut. Perhaps best known for the song “High Flying Bird” (which became the title track to her follow-up album), Henske helped pioneer folk-rock, incorporating drums and electric guitars in her music.

By mid-decade, Judy had moved to Warner Bros., working with such noted producers as Jack Nitzsche (who had memorably dubbed the singer “The Queen Of The Beatniks”), and future Lovin' Spoonful guitarist Jerry Yester. Henske and Yester soon married and their 1968 collaboration Farewell Aldebaran is now recognized as a psychedelic classic. Not long after its release, Judy took a hiatus from the music business to raise a family, but 1999's Loose In The World signaled a welcome return for a performer that critic Dave Marsh raved was “beyond all categories except 'legendary' and 'great.'”

There's plenty to justify that claim on the 2-CD Big Judy: How Far This Music Goes (1962-2004), the first career retrospective of the versatile vocalist. Its 41 tracks include representative recordings from every one of Henske's studio albums, plus rare singles, Whiskeyhill Singers cuts, and four unreleased sides spanning four decades: “Hey Babe, You've Been Cheatin',” “Father Of Souls,” “Yellow Beach Umbrella,” and “Hollywood People.” Including rare photos, Barry Alfonso's insightful liner notes, and Henske's own recollections, this Rhino Handmade set captures a force of nature in all her glory.

Big Judy: How Far This Music Goes (1962-2004) is available as an individually numbered limited edition of 5,000 copies.

THE RIPPS: LONG LIVE THE RIPPS

ARTROCKER.COM: We're doomed. If Global warming doesn't melt our Grandkids then the terrorists will nail our asses for sure. And if, by some incredible miracle, we escape both- the frigging birds are gonna give us the plague. And I always trusted those little furry guys. That's right- these are bleak and serious times my friend, so thank your lucky stars that the Ripps are at the ready with their debut album `Long Live The Ripps'.

These guys are fun. They make a night out in the UK seem like some kind of Scooby Doo adventure, complete with vampires and things. They appear to consider the ego tripping of Razorlight, the emotional intensity of Keane, and the studied cool of The Strokes, think for a minute, then go "Naaaa!" before they bugger off to have yet even more fun. And I think we can all say, good work kids.

`Holiday' for example, drools with Supergrassy enthusiasm whilst telling stories of seaside escape built around the notion that a "cheeky pint will always end in tears." Aside from being a perfect piece of jump-around silliness, it also showcases the marvellous vocal team of Patch Lagunas (lead vox, snarly noises) and Rachel Butt (backing vox, monkey noises).

Whilst hardly Mike Leigh storylines, the songs do contain their fair share of biting social commentary- usually in the form of Sex Pistol style attacks on politicians (`Hypocrites'), crappy Right Wing Newspapers (`Benefits') and diamond encrusted celebrity morons. Things are never allowed to get too bland though, and most of the commentary is too amusing to be taken as self righteous.

Loads of bands at the moment are "redefining" Britain with "poetic" visions as if they share family heirlooms with Charles Dickens, but few are taking the hot air out of the process and having a damn good crack. That's where the Ripps come in, and ye Gods it feels more like the start of the world than the end of one. Spanking.

Towers Of London - Biography

So, what exactly do we know about Towers Of London? A band blessed with the spirit of The Faces, the wardrobe of the Clash and aural power of sulphate-era Manics, unquestionably. An iconic, five man strike force on twenty-first century apathy, undoubtedly.

But as an afternoon in their company proves, they're also fans of everything from skateboard flick Dogtown And Z-Boys to The La's to Shane MacGowan, knowledgeable rock'n'roll dreamers and so steeped in the spirit of '77 even Steve Jones of The Sex Pistols took them to his hearts on a recent trip to LA.

"He called us a bunch of little cunts" beams guitarist Dirk Tourette from beneath a towering blonde testament to the power of hairspray. "I think he likes us because we get up the noses of the trendies."

He's not joking. For those recently returned from Mars, Towers Of London (Donny Tourette: vocals, Dirk Tourette: guitars, The Rev: lead guitar; Tommy Brunette; bass, Snell: drums) have ruffled more feathers than any British band since The Libertines. A ten-legged whirlwind of glitter-punk riffs and aviator shades, they have already amassed a rock'n'roll charge sheet to die for, but more crucially, they've given U.K rock'n'roll a much needed shot in the arm without resorting to heroin chic or cosying up to the media. "It has been a battle so far" explains Donny.

"It's weird, because in the end all we want is the freedom to play loud, party rock'n'roll. Yet once you start doing it you realise there are lots of people who don't want you to take things to the very limit and someone ends up getting arrested. Usually me!" The singles you probably know about. If "On A Noose" and "Fuck It Up" acted as sonic calling cards, "How Rude She Was" marked both their arrival in the Top Thirty and a handy knack of writing pop classics.
"We&..39;ve always loved big tunes" enthuses Donny.
"I spent the first six years of my life in Liverpool, and you hear those old Beatles melodies so much it soaks throu gh into the way you write."

Rewind. Having moved from their native Liverpool to Buckinghamshire as kids, Dirk and Donny formed a band lost in the mid-nineties spell of Champagne Supernova. "Dirk was always playing the guitar in his room and one day I heard him playing an Oasis tune and it actually sounded good. He told me to sing "Live Forever" and we took it from there." Fuelled by a shared love of "Never Mind The Bollocks" and "Appetite For Destruction" the brothers set about recruiting band members from the most likely looking candidates at school assembly.

"It's been a long process" explains Donny.

"We've done loads of dispiriting gigs, had loads of band names- Brass Monkeys, The Lost Boys, the usual stuff. But we've come through it, and we've still got the swagger and belief in rock'n'roll we always had."

All of which, needless to say, is instilled in the grooves of the Towers debut album. Released on June 5th, Blood Sweat And Towers is a monument both to their struggle and to the redemptive power of rock. Recorded over the course of three months between London with Youth (The Verve, Guns Roses) and LA with Stacy Jones (American Hi-Fi) it is a record where echoes of Slade, "Sweet Child O'Mine" and The Faces "Ooh La La" happily co-e xist, all shot though with a spirit and -yes-soul- almost entirely lacking in the wry, twitch-rock epidemic currently saturating the charts. If the Phil Spector meets The Ramones cacophony of first single "Air Guitar" will shock the doubters, it's only the start of the surprises.

If the anthemic "Kill The Pop Scene" boasts a defiant "What d'you think about that?" rallying call, anyone doubting their capacity to evolve beyond their (bleached) roots should be directed towards the acoustic romp through "Fuck It Up" or extraordinary highlight "King" . Featuring a thirty piece orchestra and the lyric "I've learnt my lesson well now I'm back again' it is an anthem for anyone who's ever started into a bedroom mirror clutching a tennis racket.
"It's the perfect soundtrack for anyone up for having it this Summer" says Donny. "It's got that swagger; that feeling walking into a club, us against the world" Or as Donny sings in "Start Believing" : "Out of the flames/And into the light/ They'll never stop me dreaming"

The Boys Are Back In Town. Spread the word around.

PAUL MOODY