Formed in New York City in the late 1970s, the Revelons specialized in power-pop with a punk edge, but they only managed to squeeze one 45 (plus a few tracks on compilations) while extant. ’77–’82, the new LP available now from HoZac Records of Chicago, collects that single and adds ten more cuts for a surprisingly consistent whole. It should hit fans of melodic punk right in their sweet spots. And while a few Revelons collections have been available over the years on compact disc, this edition serves as the vinyl debut for nearly everything nestled into its grooves. Plus, Hilly Kristal contributes liner notes. Nice!
Mavens of pre-HC punk and associated styles may recognize the Revelons from Numero Group’s 2015 4LP Ork Records: New York, New York, which included their 1979 45, “The Way (You Touch My Hand)” b/w “97 Tears.” The A-side is heard on ’77–’82 twice, in its first recording dating from ’78 and in a second shorter take issued on the single that also closes HoZac’s reissue.
In either version, the song is a tough but catchy bit of business that supports the Revelons’ rep as a strong live act having played not just CBGB but also Max’s, the Mudd Club, Hurrah’s, and Danceteria. And “97 Tears” makes clear that the A-side was no fluke, as the flip’s raw melodicism blends street-rock attitude with guitars that crunch and chime.
Punk nuts might also know “Red Hot Woman,” the slab of sneering rockabilly that opens ’77–’82, from its inclusion on the 1980 Red Star Records comp Marty Thau Presents 2×5, where the Revelons were joined by The Fleshtones, Bloodless Pharaohs (featuring soon to be Stray Cat Brian Setzer), Comateens, and Ork labelmates Student Teachers.
“Lover’s Dilemma” exudes a substantial British Invasion vibe, highlighting the range of Gregory Lee Pickard, who wrote and sang all of the Revelons’ songs (along with playing rhythm guitar), while the harmony-laden “Brighter Side” takes its ’60s inspiration from the heart-purge crooning of Dion, Del Shannon, and even a hint of Valli and the Four Seasons and gives its ’70s update that’s not that far from Springsteen I guess, but with more punch and less theatrics.
While still rich in pop-rock classicist maneuvers, “Outlaw Without a Gun” is a more thoroughly ’70s power-pop affair, while “My Town” takes a decidedly new wavy turn that’s appealingly counterbalanced with the heaviness of the band’s attack. “It’s a Beautiful Life” even throws in some saxophone to non-detrimental effect.
The anthemic and instrumentally robust “White Elvis” illuminates the Revelons consistency, with the live recording “All These Things (The World’s Fair)” further driving home the quality of the musicianship. But the overall sharpness of the playing should be no surprise, as contributors across the album include Fred Smith of Television and Jay Dee Daugherty of the Patti Smith Group.
Both Smith and Daugherty play on handful of tracks here, including “A Children’s Story,” which hits the ear like an attempt to harness the thrust of early ’80s radio-ready hard rock, but without losing focus on the Revelons’ sound. And a big part of that sound derives from the sturdiness of Pickard’s singing. Overall, ’77–’82 is a document of progress without backsliding or any major missteps. It’s a worthy addition to any shelf of catchy punk rock and raw power pop.
GRADED ON A CURVE:
B+
