Right from the get-go the influences show–Sweet, Queen, Heart, the Runaways, and Abba–and right away it’s like watching some kids at a dance recital: you have to proud that they’re putting everything they’ve got into it, and you’ve got to be more than a little embarrassed for them because they are making fools of themselves.
Queen was perhaps their biggest influence, but while Queen had Roy T. Baker to help with the clean punch and over-the-top production, this L.A. outfit handles their own–but equally OTT–production. Some might argue they needed someone to grab their arms and give them direction instead of letting them blend many styles–glam and hard rock, pomp rock and new wave, but by being allowed to do their own thing, they were able to avoid being just another boring pomp rock or new wave band trying to fit neatly into a category. While they have their clear influences, all the songs are penned by the female vocalist and the lead guitarist, and while this set certainly doesn’t avoid the absurd and downright dumb, it’s certainly never boring, the first side sticking mostly with the rocking.
The flip-side opens with a misguided attempt at rock disco, maybe figuring if Blondie could pull it off…but this just ends up sounding like a horrid version of Abba. After this mess, they get back into the Queen-inspired sound established with the first side. While the second side sounds like it might end as poorly as it began, going into perhaps the worst space-rock song ever recorded, they fortunately end the album with “Machine Gun,” which clearly borrows from AC/DC’s “Bad Boy Boogie.”
If they would have kept their Queen-inspired guitar licks but been pushed into the punk direction that we hear hints of in the closing cuts of each side, this might have been pretty great album. As it sits, it isn’t going to win any awards, but folks with an interest in over-the-top junk from the 70s, might get a kick out of it.
— winch (author of…Eight Track Publishing)