For fans of ’60s rock, punk and otherwise, it’s time to explore this underappreciated gem now.Ĭheck out “What Gives You The Idea That You’re So Amazing Baby?” below.Īs far back as a wee lad pooling his cash to buy Never Mind The Bollocks, I’ve had a deep appreciation for Motörhead. Cherry Red Records’ amazing reissue features the entire original album in sterling remastered sound, along with a second disc or singles, demos and rarities. Unfortunately, Desert Orchid has been long out of print for years, and was never available on CD in these parts, until now.
And, it’s seriously like nothing else you’ve ever heard. The highpoint of Desert Orchid is the single “What Gives You The Idea That You’re So Amazing Baby?” With its freight-train rhythms, punk bravado, insidious slide guitar and massive chorus that incorporates every syllable of the title within its tight confines, the song builds to an unholy climax with each refrain. “I Don’t Want That Kind of Love,” is an anti-ballad of sorts, with an infectious chorus-the song would later be covered by fellow scenesters Jesus Jones on their debut a while later. “Jack the Scissor Man,” offers a unique take on punk, with driving riffs and an oddly addictive nursery-rhyme chorus. “Rags” furthers the cause with punchy drums, horns and sleazy guitars, while the band’s cover of “Have Love Will Travel” gives the original standard a cow-punk makeover, adding an equal shot of groove to the mix. Toss in a big, hook-laden chorus and the song kicks off the album in high style. The album opens with the ’60s-flavored “Time Has Taken Its Toll On You,” merging Anderson’s gritty vocals with the spidery guitars of the cleverly named Fast Transatlantic Dick and his accomplice Reverb. Mixing a toxic combination of classic punk, ’60s garage rock and street glam with a heaping dose of black humor, courtesy of vocalist Anderson, the sound was dirty and lean, but surprising hooky and melodic (Think The Cramps meet Cheap Trick).ĭesert Orchid (1988) was the band’s debut. In spite of the fact that it hailed from the same confines, Crazyhead had its own thing going altogether. From the outside, the only commonality this clutch of impertinent young bands had was a penchant for scraggly hair, bad hygiene and mismatched clothes.
Largely thought to be a creation of the UK music media, the scene consisted of bands too smart for their own good, some of which mixed genres such as rock and punk with hip hop and/or industrial production effects. The band was part of the short-lived “Grebo” scene that included other Anglo oddities such as Zodiac Mindwarp, The Wonderstuff, Pop Will Eat Itself and Gaye Bykers on Acid. The sounds, however, were different from anything I’d ever heard. I decided to take a chance, mainly because the mangy looking band had an image that was similar to some other bands I liked. I remember seeing scores of cheap promo copies of the band’s Desert Orchid album, which is generally an indication that no one really bought actual retail copies, just the opened promos that littered the stores. I discovered the band by scouring the bargain bins for stuff to fill out my collection. There were many copyists who’d also rise the ranks, as well as other bands that would never truly get their due. Various sectors of punk, hard rock and other subgenres had begun to come together to forge a temporary underground scene that would see the likes of Jane’s Addiction, The Cult, Guns N’ Roses and Red Hot Chili Peppers soon become mainstream. Its original release hit during a very cool time for rock ‘n’ roll. It was through this process as young record store hound that I discovered the little-known (at least in these parts) UK band Crazyhead. You have to pick through columns and stacks to find what you want, thus discovering new stuff along the way. I’m referring specifically to the practice of shopping at real record stores to discover and obtain one’s music. On top of that, I just don’t want to be that annoying old guy.īut one thing I will say without reservation is that the way we used to shop for music (and still do to some limited extent) blows away the current practice. No matter how much I might think it sometimes, I don’t say it, because everyone has their own special time with discovering music that reminds them of a certain period in their lives, and I am in no position to pass judgment. They say things like “They just don’t write songs like they used to,” or “The scene was so much better back in the day.” After a while, it becomes as cliché as the new music they’re criticizing in the first place. There will always be those that are hopelessly stuck the past.
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