The Shirts

The Shirts were one of the many hip New York bands given the spotlight on the classic new wave album Live at CBGB's. Managed by Hilly Kristal, proprietor of that establishment that helped herald late-'70s punk and underground rock, Annie Golden and her five bandmates (all men) crafted a pop album that falls somewhere between Blondie and the Go Go's. "Love Is a Fiction" is the Angels and the Dixie Cups all grown up. Clever lyrics, trendy guitar, and great vocals. Where that poppy two-minute-and-37-second song is everything Top 40 in the '60s embraced, "Don't You Hesitate" is a cool FM ballad that is absolutely haunting. There are 12 tracks on this Mike Thorne produced project, and the Shirts really tried to cover all the bases. "Milton at the Savoy" opens with the line that is the title of this album -- an interesting aside about a musician from the '30s reminiscing while disco permeates the place of his former employ. A little too rock for the audience that appreciated Dr. Buzzards Original "Savannah" Band, the song shows the Shirts' ability to experiment. "Ground Zero" is yet another departure from the other compositions. What this band does best is pop, be it a piece like "Triangulum," written by lead singer Annie Golden and keyboard/bassist Jeff Piccolo, with its Pink Floyd overtones, or the album's underground hit "Out on the Ropes." "Out on the Ropes" has a hook that won't quit, proving Golden an effective woman vocalist who can take a ballad and break your heart with it. It is far removed from the B-52's-sounding "Starts With a Handshake," or guitarist Arthur Lamonica's strained "Can't Cry Anymore" -- not a bad song, but his vocal sounds like a demo begging for Annie Golden to do a bit more than add some harmony. Kind of like when Janis Joplin would take a seat to the boys on the first Big Brother & the Holding Company self-titled Mainstream album. What's the point? "Kensington Gardens" is an instrumental from drummer John Criscione, which closes out the album after two experimental pieces, "I Feel So Nervous" and "Outside the Cathedral Door." Credit must be given to the band for their broad approach to heavy pop vocals meeting progressive rock, but it could have been this diversity that inhibited the band's potential success. Blondie broke through by being consistent, and Big Brother's experiments, very much like what can be found on Street Light Shine, had the benefit of Janis Joplin's comet to help bring their ideas to the masses. All in all, though, this is a unique and very listenable album.



After Mike Thorne had the band all over the map on their second album, Street Light Shine, the Shirts' third and final disc, Inner Sleeve, finds Juice Newton/Jackie DeShannon/Dean Martin producer John Palladino teamed up with Backstreet Boys/Blood, Sweat & Tears/Steely Dan guitarist Georg Wadenius and they bring out the pop side of Annie Golden's band on these 11 tracks. The niche they've settled into here is the melodic short songtunes essential to the new wave, which, after all, was garage bands looking to find the most fun elements of '60s radio hits and exploit them to become rock stars. Golden had the talent to ride the charts along with Blondie, the Go Gos and, the Cars, and this album has the band headed in the right direction -- it's just too bad they quit after finding their groove here. "I'm Not One of Those" begins things with bright keyboards, drums, and a definite Dale Bozzio/Missing Persons approach. It's three minutes 20 seconds of power pop. You wouldn't know that bassist Bob Racioppo wrote "One Last Chance" as it has the same flavor as the previous composition by guitarist/keyboard player Art Lamonica. Another guitarist/keyboardist, Ron Ardito, weighs in with a very Blondie-sounding "Can't Get It Through My Head," and if the formula sounds calculating, who cares? It works, and each member, save the drummer, brings a tune or two into the mix. The production by Wadenius and Palladino is superlative and worthy of note, dramatically different from the group's raw beginnings on Live at CBGB's; here the vocalist, drummer, and bassist with their trio of guitar strumming keyboard players (a novel idea for an underground band) forge an identity. The cover photo is electric, and on the vinyl they strive for that wonderful Richard Gottehrer sound, and get it. Though there's no outstanding ballad like "Out on the Ropes" from Street Light Shine, the album is overflowing with smart pop and is highly listenable, Annie Golden stretching her voice to the max on titles like "Pleasure & the Pain." It is the great chick singer who gets to take all the chances this time out, with the band playing far more conservatively. If a tune like "As Long as the Laughter Lasts" isn't as overpowering as some of the others, its consistent sound keeps it, and other lesser titles, in the ball game. Inner Sleeve is an inviting performance, especially for those who never encountered the other work by the truly underrated Shirts.



Joe Viglione, All Music Guide