"THEY WERE ROCK STARS:" A Few Words About Dress Code

Dress Code was a terrific rock 'n' roll quartet playing clubs in Syracuse at the end of the '70s into the dawn of the '80s. The recent death of Dress Code bassist Eric Mattice prompted my reminiscence of the glory of Dress Code in this week's This Is Rock 'n' Roll Radio playlist, just as the death of guitarist Norm Mattice prompted a similar reaction in 2016.

But I cede the floor to my friend John Tierney, who has published a heartfelt and moving tribute to Dress Code on his own blog, Long Winded-Short Attention Span. If rockin' pop music has had anything near to the meaning in your life as it's had in mine, you owe it to yourself to see what John has written: "Alone In The Crowd--A Rock 'n' Roll Love Story."

That Tierney boy gets it. You should read what he has to say.

Little-known fact outside of the Syracuse scene: Dress Code drummer Steve Martell was recovering from a car accident when Dress Code's Alone In The Crowd EP was released in 1981. The guy subbing for Martell on the record's sleeve, his face turned away from the camera, is future pop god Chris von Sneidern. CVS was a Dress Code fan, too.

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Our new compilation CD This Is Rock 'n' Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin' pop, starring Pop Co-Op, Ray Paul, Circe Link & Christian Nesmith, Vegas With Randolph Featuring Lannie Flowers, The Slapbacks, P. Hux, Irene Peña, Michael Oliver & the Sacred Band Featuring Dave Merritt, The Rubinoos, Stepford Knives, The Grip Weeds, Popdudes, Ronnie Dark, The Flashcubes, Chris von Sneidern, The Bottle Kids, 1.4.5., The Smithereens, Paul Collins' Beat, The Hit Squad, The Rulers, The Legal Matters, Maura & the Bright Lights, Lisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here. A digital download version (minus The Smithereens' track) is also available from Futureman Records.

TIRnRR # 4, Track By Track: 1.4.5., "Your Own World"

This is part of a series of short pieces discussing each of the 29 tracks on our new compilation CD This Is Rock 'n' Roll Radio, Volume 4. The CD can be ordered at Kool Kat Musik.

20. 1.4.5.: "Your Own World"



I've grown tired of recounting the sad circumstances of Norm Mattice's death, weary of once again detailing the same tragic story of a talented singer and musician, a beloved member of the Syracuse music community, dying from exposure--homeless and alone--in Onondaga Lake Park. A commemorative plaque on a bench in that same park marks the happier memory of what was. The cautionary tale of Norm's demise can be found elsewhere, in reports written by me and by others. In this space, we celebrate Norm's positive legacy instead. But we do repeat one familiar, relevant point:

Norm Mattice was a rock star.

And he was a rock star even though the mass o' millions neither heard him nor heard of him, never saw him perform, never listened to any of his all-too-few recordings. Some things are just intrinsically true, even if there aren't enough witnesses to testify: Rock star. Yeah, that was Norm all right.

I had the great fortune of seeing Norm's first band Dress Code a handful of times in the late '70s/early '80s. I saw him with 1.4.5. in the '80s, and I saw Norm and the lads a time or three after 1.4.5. changed its name to The Richards. I was a fan, and I still am. I think I owned every song Norm released, from Dress Code's Alone In The Crowd EP through The Richards' Over The Top album. Um--that's actually almost his entire discography, I think. There was also The Richards' magnificent track "Five Personalities," first heard on a Swedish compilation CD called Pop Under The Surface Volume One (and later reprised on our own This Is Rock 'n' Roll Radio, Volume 3), but I only know of one other release to feature Norm: Rhythm n' Booze, the stunningly good 1988 LP by 1.4.5.

1.4.5. originally formed in 1980, led by guitarist Paul Armstrong of The Flashcubes, initially with bassist Dave Anderson and drummer Ducky Carlisle. Paul, Dave, and Duck had all been in Paul's first post-'Cubes band The Most. 1.4.5.'s line-up evolved a bit; Tommy O'Riley, formerly of The Most, The Hit Squad, and The 4, also served in 1.4.5., and Paul Armstrong was the group's only constant member. Witnessing a Dress Code performance, both Paul and Ducky declared ROCK STAR! and poached Norm to front 1.4.5. This new version of 1.4.5. ditched Syracuse for fresh headquarters in Boston, where...

...well, where they didn't become stars. But they should have.

Rhythm n' Booze certainly makes that case. By 1988, 1.4.5. was Paul, Norm, and bassist John Fortunato, with (I think) Ducky still drumming on the album's tracks. Together, this mob slapped together an unknown rockin' pop gem, a confident LP that cries out for wider notoriety. Rhythm n' Booze includes an ace cover of Slade's "Do We Still Do It," and an agreeable run-through of the Chan Romero via The Swinging Blue Jeans perennial "Hippy Hippy Shake." But the group originals freakin' rule here, from the carpe diem of "Right Now" and the pretty pop of "Girl In A Window" through the rambunctious, rampagin' "Here Come The Cops." There's even a (presumably) playful jab at many of the band's former Syracuse associates, "Famous Local Hero." I remember seeing Paul and Norm perform that at an acoustic Syracuse Songwriters Showcase, both mugging to great comedic effect as they changed the names in the song; a lyric about Paul's once and future Flashcubes partner Gary Frenay became "Larry was the prince of passion...."

I really wish someone would reissue this, and I really wish everyone could hear it, now and forevermore. We're gonna do our part to preserve my favorite track from Rhythm n' Booze: in the emotional aftermath of Norm's death, "Your Own World" was far and away TIRnRR's # 1 most-played track in 2016. There are two entirely different versions of "Your Own World;" this first-recorded version with Norm appeared on Rhythm n' Booze, and it was later redone by the group's original line-up, with Paul on lead vocals. Both versions rock, but that original version, with Norm? My friends, that's a flat-out classic that no one knows about yet. The riff hammers. The drums snap and crackle. The bass pummels, and the guitar draws blood. And, over and above it all, a rock star belts out the vocal as only a rock star can.

I didn't know Norm. As I've said before, I'm not positive we ever even exchanged a greeting over the decades of shared nightclubs and setlists, me in the audience, Norm on stage. But I was a fan. I knew a rock star when I saw one, and I for damned sure knew a rock star when I heard one.

Listen to this track. You'll hear a rock star, too.




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Something's Really Wrong

 

On July 3rd, 2016, Dana and I had the great honor and privilege of hosting BRIGHT LIGHTS! The Syracuse New Wave Rock 'n' Roll Reunion, an incredible night of live rock 'n' roll celebrating the late '70s/early '80s Syracuse punk/new wave/power pop scene.  Within the next few days, I will be attempting to collect my thoughts for an afterword on my impressions of that wonderful, wonderful night.

The show itself was dedicated to the memory of Norm Mattice.  Norm was an amazing talent, whom I first saw when he was still playing with his first band, Dress Code.  Norm subsequently served as frontman for 1.4.5. and The Richards, and he should have become a household name.  Norm could sing--oh man, could he ever sing!--and play guitar, and he had magazine-cover good looks.  His friend and Dress Code bandmate Steve Martell called him a rock star; Gary Frenay of The Flashcubes remembered him as one of us.  Norm was a terrific guy with a problem:  booze.  Stardom never materialized.  His dreams of rock 'n' roll success faded away.  He lost his job.  He lost his house.  His marriage ended.  His parents passed away. Periods of sobriety gave way to the problem that never stopped being a problem.  

And there was nothing anyone could do.

Though an only child, Norm had friends and family who tried to help, tried desperately to help.  But accepting help is a choice; Norm did not accept that choice.  Homeless, penniless, he died of exposure earlier this year, sleeping unsheltered in Onondaga Lake Park.  And a community wept.

At the first BRIGHT LIGHTS! show in 2014, singer-songwriter Maura Kennedy formed a Central New York supergroup called Maura & the Bright Lights, featuring her husband Pete Kennedy, Gary Frenay and Arty Lenin of The Flashcubes, and the inimitable Cathy LaManna.  Maura & the Bright Light's raison d'etre was to open our live celebrations with a set of songs associated with bands from Syracuse's original new wave scene. Maura & the Bright Lights' 2014 set included a medley of two Dress Code tunes, "Never Let Me Go" and "Something's Really Wrong," both from that group's 1981 EP Alone In The Crowd.  For this year's show, Maura wanted to open BRIGHT LIGHTS! with "Something's Really Wrong" as a dedication to Norm; the original record included a climactic collage of bad news and horrors of the world as delivered by voices on the radio, particularly news accounts of the then-recent murder of John Lennon.  To make the song a more specific tribute to Norm, Maura asked me to write a new script for that section, focusing on the plight of the homeless, and asked Dana and I to recite the section during the Bright Lights' performance of the song.  The following are Elliott Mattice's original lyrics for "Something's Really Wrong" (copyright Elliott Mattice), with our new section added for posterity.  

People in today's world seem to want to fight
I just can't understand
It's not right
What's the use of heroes?
Try to play your own song
Show them who you are
(Who you are!)
Acceptance is a way of life
How can I fit in?
Just keep yourself in your place and you'll be loved by all
Television is a habit truly loved by all
It's the American Way
(The U.S.!)
I know it must be true
Because that's what was said by the TV today
(You don't say!)
Acceptance is a way of life
How can I fit in?
Just keep yourself in your place and you'll be loved by all
Something's really wrong with the way things are going
Something should be done, or we won't last too long
Something's really wrong
Something should be done
Something's really wrong
What's the use of heroes?
Try to play your own song
Show them who you are
(Who you are!)
Acceptance is a way of life
How can I fit in?
Just keep myself in my place and I'll be loved by all


DANA:  In the news tonight, Reuters reports there are over 500,000 homeless Americans in this land of opportunity. About a quarter of the homeless are children.
CARL:  The figure, taken from a November report by the US Department of Housing and Urban Development, is described as a snapshot of the number of homeless on a single night. 
DANA:  The actual number is likely higher.
CARL:  You can't keep track of who is sleeping on sidewalks, under bridges.
DANA:  Out of sight.  Out of mind. Discarded.
CARL:  Who can measure the faceless and the nameless?
DANA:  But sometimes even a number has a face.
CARL:  Sometimes a number has a name we know.
DANA:  One of us.
CARL:  A bright light.
DANA:  A rock star. 
CARL:  One of us.  
DANA:  Alone in the crowd.  
CARL:  Something's really wrong.  
DANA:  And that's the news on this Independence Day weekend.  
CARL:  Good night, and good luck. 

People in today's world seem to want to fight 
I just can't understand 
It's not right  

No.  No, it ain't right at all.  Rest in peace, Norm.

MAURA KENNEDY: The 1997 BRIGHT LIGHTS Interview

 

With the ol' clock on the wall ticking closer and closer to our big 2016 BRIGHT LIGHTS! Syracuse new wave rock 'n' roll reunion party on July 3rd (as detailed here), let's dig deeper into the archives for some first-person accounts of the late '70s/early '80s local scene that BRIGHT LIGHTS! celebrates.  These interviews were conducted by me in 1997, as background for a Syracuse New Times article on The Flashcubes and other great bands playing around the 'Cuse during that three-chord-charged time frame; it was published the week of The Flashcubes' 20th anniversary show, which was also a release party for The Flashcubes' anthology CD Bright Lights.  The article itself can be found here.  This is the first publication of the complete interviews.

Hey, wanna go to the BRIGHT LIGHTS! show?  Of course you do!  Get yer tickets, man!

Shortly after our first BRIGHT LIGHTS! show in 2014, True Believer Scott "King" Cornish wrote, "If you could take all the love and the excitement and good vibes and enthusiasm and talent on hand at BRIGHT LIGHTS! and combine it all into one person...well, it'd be Maura Kennedy, wouldn't it?"  Testify, brother!

Maura and her husband, guitar wiz Pete Kennedy, perform together as the world-renowned coffeehouse-pop group The Kennedys.  Pete and Maura met as members of Nanci Griffith's band; their first date was a visit to Buddy Holly's grave site, so they are most certainly my kinda people. They're also two of the nicest folks in all of pop music. Back here in Syracuse, Pete and Maura participate in our BRIGHT LIGHTS! shows as members of Maura & the Bright Lights, alongside Gary Frenay and Arty Lenin (of The Flashcubes and Screen Test), plus lovely, talented, and unassailably cool veteran drummer Cathy LaManna.  I suppose it would be possible to have a BRIGHT LIGHTS! show without Maura & the Bright Lights--but why would we ever wanna do that?!

Let's go back before any of this.  Because in the '70s, before Maura Kennedy became the idol o' thousands, she was little Maura Boudreau in suburban North Syracuse, the kid sister of my friend Joe Boudreau.  I take full credit for hipping Joe to punk and new wave, turning him on to The Sex Pistols and The Ramones, and taking part (so to speak) in Joe's own fictional punk band, The Excrement Rifles, which Joe asked me to help him concoct as a humor piece for our high school magazine, The NorthCaster.   As we'll see below, Joe passed the melodic lobotomy bug on to his sister, and the rest is history.  Tell us about it, Maura!


How did you first hear about new wave music in general, and the Syracuse scene itself?

I told you about Sheena [Pam Tiger, later drummer for Distortion]'s dorm room.  I remember seeing a poster on her wall for 1.4.5.  And I thought that was hilarious, because I was a music theory student at high school, and that's like the most common progression.  But it's spelled in Roman numerals.  So when I saw this 1.4.5. spelled in Arabic numbers, I thought that was so funny.  And I laughed, and she didn't know what I was laughing at, because she didn't know theory.  She said, "They're the coolest band!"  So that's how I first heard about it.  And then I went to one of their shows, and found out about The Tearjerkers and all the others.  And also, the other thing--I was telling Pete about this--a really big influence on getting me involved with that, and not so much the local scene, but punk music.  I didn't like new wave music; I thought like Gary Numan and Blondie were more like new wave.  I wasn't really into that.  But I was more into the punk stuff, like The Ramones and stuff. And I found out most about The Ramones from my brother Joe [laughs].  My absolute first memory ever of hearing that music, and it will never go away, is my brother Joe chasing my little brothers around the house with a whiffle bat, singing, "Beat on the brat with a baseball bat!"  And I said, "What is that song?"  So that's the first time I ever heard The Ramones.  And also The NorthCaster, that had a lot to do with it.

Do you think this Syracuse scene has any meaning for someone who wasn't there?

Yeah, and I'll tell you why I think so.  Because when I moved to D.C., I realized that D.C. had a scene that was just like Syracuse.  It had a band that was like 1.4.5., called Switchblade.  It had a band that was kind of like The Tearjerkers.  And I realized that these little underground scenes were popping up all over the country.  And the only reason I would say that maybe yeah, the Syracuse scene would appeal to other people, was because the history of the D.C. scene really appeals to me.  And whenever there's a reunion of a band that hasn't played in 20 years, I go to see it, because I want to see which band from Syracuse it's the most like.

I was unlucky in that respect.  I was too young to have seen The Flashcubes, other than in reunions.

Tell me about your first band, The Antics.

It was a bad band, but I didn't care.  It's funny, because all the musicians back then that I knew, they didn't think there was any validity to bands that couldn't play.  I still do.  Because you've gotta start somwhere, and it's such a great form of recreation.

But to me, the most amazing thing about the Syracuse scene was that I always thought it was really normal and regular that people wrote their own tunes and put out their own records.  And I found when I moved around, as I looked around at different scenes nationally, I found that not everybody did that.  It was a really cool scene.  I remember one time, I think it was [at] Jabberwocky, and Dress Code played.  That was another band that wasn't very good technically, but I loved the Merseybeat kind of stuff. I loved 'em, and people gave me flack for being into that band [laughs].  But I remember one day they did the record release party, and Elliot [Mattice]--I think it was Elliott, or one of the guys--rented a limo.  And everybody gave them grief, and I thought it was so rock 'n' roll.

There was often a negative reaction to this scene, and this music, from people who weren't a part of it.

In high school there was.  I remember in high school, I used to get beaten up all the time.  I remember one time, I was sitting in the cafeteria.  I was a senior.  I was sitting with my friends.  So I'm sitting there, I think it was right when Rock 'n' Roll High School came out, or maybe it was a couple of years [after].  But I had my Rock 'n' Roll High School T-shirt on, with my Joey Ramone autograph right on the shirt.  And I had these glasses.  I used to go down to Marshall Street all the time, and I went down to Down Under Leather, and they had the coolest selection of rock 'n' roll sunglasses.  And they had this one pair that was purple, and they had these little V-shaped visors that came over each lens that were purple plastic, molded.  So that when you put 'em up on your head, you looked like Josie and the Pussycats.  I thought they were the coolest things.  So I saved up, from my paper route, to get these things.  And the very first day I had 'em, I wore 'em to school.  And there was a kid, Doug Pitaki, I'll never forget him.  Because he came up to the group of us--we weren't offensive people, we were just into punk rock music  But the jocks were really threatened by it for some reason.  And he came marching up to me, tore 'em off my head, twisted 'em in half, and said, "Fuckin' punk rock!"  "You fuckin' punk rock," like I was a rock, not a rocker [laughs].  He didn't even know the terminology.  So there were a lot of people who were real hostile to us as kids, only because it was an unknown.  That's the reason why there's racism, or any social problem, because there's an unknown.

My parents were real supportive.  I think [we] who were playing in bands had real supportive parents.  We always, no matter what band it was, everyone rehearsed at their house, or got a ride over in their Mom's station wagon.  It was always real supportive on that level.   Because they saw us when we were putting together the music, and they knew that we weren't doing drugs, or whatever everybody was afraid [of].  As far as the other musicians, there's always going to be musicians who for some reason or another put down other bands, either because they're insecure about their own thing, or maybe they feel like they worked really hard to learn all their scales [laughs], and these bands that are really exciting on stage don't have the technical ability that they do.  But they didn't want these bands to break up, they just didn't know why they had an audience.

But it was just a rock 'n' roll thing.  Everybody really just wanted to dance.  And that's what I loved about The Tearjerkers the most, because they never stopped between songs.  I've always imagined that way of performing, of being, you know--if it's a band, and you really want to keep the audience with you, you shouldn't have that dead space between songs that so many bands have, scratching their heads and saying, "Gee, what song do we do next?"  They really had it together.  You don't really have to be a real studied musician to be a good entertainer.

When I was 14--I was really underage--this was actually the first band I ever saw in a club.  And it was The Ramones, and they played at Uncle Sam's.  So I was 14 years old, and I just wanted to go to that show so bad.  And I'd never tried to get into a club in my life.  I didn't know you needed a fake ID [laughs].  And at Uncle Sam's, that place didn't usually have punk music. And I was all by myself, because I didn't know all the people I ended up hanging out with in high school.  I wasn't hangin' out with those guys yet.  So I went to this club, and I was a total nerd.  I had no friends, I had really thick bottle glasses, and I didn't look like a punk.  I was all by myself, I didn't have a plan or a clue.  So I'm standing in line while they're letting people in, and I'm getting close to the door and I'm watching them card everybody.  I'm thinkin', "Oh shoot, what do I do?"  I don't know how it worked, but as I got up, the person in front of me was getting carded, I took off my glasses and I started cleaning them on my shirt, looking down.  And I walked right in.  Not only did they not card me, but they didn't charge me either.  And I saw that show.

It was a really important thing.  If it hadn't been for this scene, I probably never would've gotten into music.  I mean, maybe I would've as a music teacher, but never as a performer.  Because I never would have known that I could write a song.  And then I saw all my friends doing it.  So it's a huge part of my life now, and my past.

But the scene ended when New York State raised the drinking age to 21, and all these nightclubs went under.

Well, that's when Jabberwocky died.  And it's also coincidentally when MTV started.  MTV started in 1980, the summer between my junior and senior year in high school.  And I remember watching it and going, "Oh my God, people aren't going to go out and see live bands anymore!"  Which wasn't true, but I was concerned about it.  I didn't think MTV was a good thing.

2016 POSTSCRIPT:  That Ramones show at Uncle Sam's that Maura was able to crash?  That was July 6th, 1979.  I was there, with Maura's brother Joe, and our mutual pal Jay Hammond.  The evening opened with the debut Central New York screening of The Ramones' new movie, Rock 'n' Roll High School.  The Ramones played a little later in the evening, but not until after an incredible opening set by The Flashcubes.  Maura may not remember all of the specifics, but she did indeed get to see The Flashcubes live, in their prime, and not just at reunion shows.  She'll get to see 'em again on July 3rd, and she'll even get to play on stage with some of 'em.  File this one under "Happy Endings."

This Is Rock 'n' Roll Radio # 822: Norm Mattice

This is the story of a homeless man in Syracuse.  We don't know what circumstances led him to a life with no fixed address; we only know that he had been staying at a Catholic Charities homeless shelter since December.  Later on, we know he was reported to have had an altercation of some kind, and that he has been unseen, missing, since the beginning of April.  This weekend brought news that a body had been discovered at Onondaga Lake Park.  And this morning, authorities confirmed that the deceased was indeed our missing homeless man.

All of this would be sad enough, as is.  But it's even worse to know that this was not some anonymous statistic.  The man's name was Norm Mattice, and he was--is--one of our own. Norm was a musician, a singer, a guitarist; he was in some great rock 'n' roll groups in the '80s and '90s--Dress Code, 1.4.5., The Richards--and no one can understand how any of this awful stuff could have happened.  One of our own.  The Syracuse music community is shaking its collective head.  Like a warped jigsaw puzzle, we can't force the pieces to fit. This is wrong.  This makes no sense.  This just can't be.

Dress Code began at the end of the '70s, a scrappy quartet of teen titans, comprised of cousins Norm, Elliot, and Eric Mattice, plus Steve Martell.  They were part of a vital Syracuse new wave/power pop scene, inspired by local heroes The Flashcubes, and avowedly influenced by a litany of all the right people:  The Who.  The Kinks.  The Easybeats.  The Monkees.  The Jam.  The Beatles.  If you never saw Dress Code play live, I bet you're wishing right now that you did.  Can't blame you.  Dress Code rocked. The group released just one four-song EP, Alone In A Crowd, in 1981, and it remains a stirring example of low-budget, high-heart rockin' pop, culminating in a haunting ballad,"Something's Really Wrong," written in the aftermath of John Lennon's murder.

After Dress Code's demise, Norm Mattice eventually became the new lead singer for 1.4.5., a rock 'n' roll combo of varying line-ups, always piloted by guitarist Paul Armstrong of The Flashcubes.  This edition of 1.4.5. released a simply splendid album called Rhythm n' Booze in 1988; the group later changed its name to The Richards, released the 1995 album Over The Top, and also recorded a song called "Five Personalities."  "Five Personalities" is one of my all-time favorite tracks by anyone, and the group allowed us to use it on our own 2013 compilation CD, This Is Rock 'n' Roll Radio, Volume 3.

That's Norm Mattice's musical c.v. as I know it.  I didn't really know Norm at all--I don't think we ever had a conversation, over the course of decades spent in the same Central New York nightclubs.  No one believes me when I say this, but I tend to be shy in public, and I rarely initiate contact.  But this loss hits hard. One of our own.  God damn it, one of our own.

Broken hearts are the price we pay for survival.  Sometimes that price seems all too steep. I guess we'd best appreciate--and declare our appreciation--as much as we can along the way.  We offer our condolences to the friends and family; we share our kinship with the fans; we really, really hope for brighter days ahead.

This week's installment of This Is Rock 'n' Roll Radio with Dana & Carl is dedicated to Norm Mattice.  We play music.  This week, we played music from one of our own.  This is what rock 'n' roll radio sounded like on a Sunday night in Syracuse this week.

This Is Rock 'n' Roll Radio with Dana & Carl streams live every Sunday night from 9 to Midnight Eastern, exclusively at www.westcottradio.org

This week's show is now available for download:  http://westcottradio.org/archive/rock_n_roll_radio_2016-04-17.mp3


TIRnRR # 822:  4/17/16  A TRIBUTE TO NORM MATTICE

THE RAMONES:  Do You Remember Rock 'n' Roll Radio? (Rhino, End Of The Century)
--
1.4.5.:  Girl In The Window (Beautiful Sounds, Rhythm n' Booze)
THE BASEMENT WALL:  Never Existed (Senate, single)
THE RASPBERRIES:  Tonight (RPM, Power Pop Volume Two)
THE JAM:  Disguises (Polydor, Direction Reaction Creation)
THE BEATLES:  She Said She Said (Apple, Revolver)
THE ROLLING STONES:  She's A Rainbow (Abkco, Their Satanic Majesties Request)
--
DRESS CODE:  I Knew (Semaphore, Alone In The Crowd)
DAVID BOWIE:  Anyway, Anyhow, Anywhere (Rykodisc, Pinups)
THE ROMANTICS:  When I Look In Your Eyes (Nemperor, The Romantics)
THE MONKEES:  I'm A Believer (Rhino, More Of The Monkees)
1.4.5.:  Your Own World (Beautiful Sounds, Rhythm n' Booze)
THE GREENHORNES:  Mary Anne With The Shaky Hand (V2, Sewed Soles)
--
RAY PAUL:  I Love It (But You Don't Believe It) (Permanent Press, Whimsicality)
TOMMY JAMES & THE SHONDELLS:  Hanky Panky (Rhino, Anthology)
1.4.5.:  Right Now (Beautiful Sounds, Rhythm n' Booze)
RICHARD THOMPSON:  Legal Matter (Cooking Vinyl, 1000 Years Of Popular Music)
20/20:  Nuclear Boy (Real Gone Music, 20/20 -Look Out!)
JOE JACKSON:  Throw It Away (A & M, Look Sharp!)
--
THE RICHARDS:  Over There (Northside, Over The Top)
THE UNDERTONES:  Teenage Kicks (Rykodisc, The Undertones)
THE FLASHCUBES:  No Promise (Northside, Bright Lights)
SANDY NELSON:  Pinball Wizard (Liberty, The Very Best Of Sandy Nelson)
1.4.5.:  Dancin' Spree (Beautiful Sounds, Rhythm n' Booze)
THE BEATLES:  Hey Bulldog (Apple, Yellow Submarine Songtrack)
--
HERB EIMERMAN:  Soft Landing (joealgeri.bandcamp.com, single)
SIMON & GARFUNKEL:  America (Columbia, Old Friends)
MANNIX:  Highway Lines (Kool Kat Musik, VA:  This Is Rock 'n' Roll Radio, Volume 3)
NICK LOWE:  Cruel To Be Kind (Yep Roc, Quiet Please...)
THE RICHARDS:  Blue Eyes (Northside, Over The Top)
PAT DINIZIO:  Behind Blue Eyes (Famous Monsters, This Is Pat DiNizio)
--
1.4.5.:  Famous Local Hero (Beautiful Sounds, Rhythm n' Booze)
THE SMALL FACES:  Things Are Going To Get Better (Immediate, The Darlings Of Wapping Wharf Launderette)
THE KINKS:  Better Things (Velvel, Give The People What They Want)
THE BEACH BOYS:  I Can Hear Music (Capitol, Good Vibrations)
DRESS CODE:  Never Let Me Go (Semaphore, Alone In The Crowd)
THE PETE BEST COMBO:  I'll Try Anyway (Music Club, Best)
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THE RICHARDS:  Tried And True (Northside, Over The Top)
THE LYRES:  Help You Ann (Matador, On Fyre)
THE WHO:  The Kids Are Alright (MCA, My Generation)
THE ROOKS:  Reasons (Not Lame, Encore Echoes)
THE RAMONES:  I Just Want To Have Something To Do (Rhino, Road To Ruin)
FASTBALL:  The Real Me (Edel, VA;  Substitute)
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DRESS CODE:  Alcoholic (Semaphore, Alone In A Crowd)
THE FLAMING LIPS:  Anyway, Anyhow, Anywhere (Restless, Acid)
1.4.5.:  Do We Still Do It (Beautiful Sounds, Rhythm n' Booze)
THE 101'ERS:  Keys To Your Heart (Chiswick, VA:  The Chiswick Story)
1.4.5.:  Here Come The Cops (Beautiful Sounds, Rhythm n' Booze)
THE SOFT BOYS:  I Wanna Destroy You (Yep Roc, Underwater Moonlight)
THE RICHARDS:  Five Personalities (Kool Kat Musik, VA:  This Is Rock 'n' Roll Radio, Volume 3)
DRESS CODE:  Something's Really Wrong (Semaphore, Alone In The Crowd)
LORD SITAR:  I Can See For Miles (EMI, Lord Sitar)