But this beautiful collection of songs is also mixed with a bit of Blonde Pop, a tiny touch of Paisley Underground, a bit of innocent Indie Rock from the end of the 80's, a bit of Jangle Pop. "Musically, the Clams practiced a kind of 'historic channel' Power Pop (obviously) in the American style, with strong Rock'n'Roll connections (a bit like the New York Dolls). As billed, The Complete Clams compiles everything the band recorded during the Reagan years: demos, singles, covers, comp tracks and the contents of their 1988 Exile on Lake Street EP." - Big Takeover Magazine
“Give Me a Reason,” “What’s Wrong With This Picture?”), they’re more comfortable with rough ‘n’ tumble rockers like “Eat My Words,” “Crazy Boys,” a gleeful mugging of the Who’s “Squeeze Box,” and album opener/calling card “Run Baby Run.” “If you don’t want me, you can find yourself a saint,” Lawson sneers on a cover of the New York Dolls’ “Human Being,” which sums up where this sadly short-lived band was coming from nicely. While the band can certainly sweeten up when they want to (cf. Enter the Clams, a hard-nosed quartet led by singer Cindy Lawson and lead guitarist Roxie Terry that drew more from the Stones, Chuck Berry and Detroit than Big Star or the Buzzcocks. "Considering the embarrassment of riches that was the Minneapolis alternative rock scene in the eighties and nineties, it was inevitable that some cool acts would get lost in the shuffle. They played a style of guitar-based pop that sounded like a cross between the Bangles and a street-gang… lots of great melodies and plenty of attitude!" - Fear And Loathing "Ms Lawson fronted the renowned Minnesota all-girl group The Clams during the mid-Eighties. Paul music scene historian or simply want to discover a really great garage rock and roll band that has gone largely unrecognized for decades, The Complete Clams is a highly recommended purchase." - Lord Rutledge, Faster And Louder It's no surprise, then, to hear the Stonesy vibes of "Run Baby Run" and a most formidable cover of the New York Dolls' "Human Being." What I enjoy about this collection is that it captures a very versatile rock and roll band. She and Roxie Terry formed a bad-ass tandem a la Jagger/Richards and Johansen/Thunders.
Here's Erika: Click here to watch."Cindy Lawson was (and still is!) an absolute powerhouse on lead vocals. Incidentally, Tuba Skinny play it in the key of A, which is awkward for some brass and clarinet players. Not long ago, she added Untrue Blues to her eight-bar songs in a version that is remarkably faithful to the 1937 original by Blind Boy Fuller. T h ese eight-bar tunes (sometimes using only two chords and sometimes needing just four chords covering two bars each) have become specialities of Tuba Skinny's wonderful vocalist, Erika Lewis. They went in for simple, memorable themes that are really good to sing. I suppose this is inevitable with a band that garners so much of its material from the unsophisticated songs of the jug bands and blues guitarists of the 1920s and 1930s. A sixteen bar (8 + 8) example is Late Hour Blues - a song they introduced into their repertoire in April 2015. What I am referring to are themes of eight bars (measures), sometimes repeated, so you could say the tunes are either of eight bars or sixteen bars (often with a 'turn-around' in bars 7 and 8). Tuba Skinny are fond of what I would describe as 'eight-bar melodies'.
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