Customer Reviews

A Session With The Remains

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I was just entering kindergarten when The Remains broke up (fall '66), but I was fortunate enough to have seen Barry Tashian, Bill Briggs, Vern Miller and Chip Damiani headline at the Nov. 1998 Cavestomp festival in NYC (there's a Kozik poster in my kitchen autographed by them) and the following March at the Paradise in their original stomping grounds, Boston.
Jon Weiss' Cavestomp festivals ('97-01) were incredibly great moments in rock'n'roll history because they brought back as many of the original garage greats of the '60s as possible, but the only thing that was biologically impossible was for the musicians to go back in time and replicate the crease-sharp feel and manic energy of their youth. This is as good as it's gonna get -- a clean, clear, loud tape of what a mid-'60s band was really like in a studio in the mid-'60s.
(Two nitpicky factual errors from previous posts: The Remains opened for The Beatles in '66 at Shea Stadium, not Yankee Stadium; and this "Session" was recorded in New York, after a gig there.)
People who need the historical A-through-Z's need to get the Epic "Barry & the Remains" disc -- but then go back and get this one. To some extent, this is the real, untold, seamy-underbelly story of rock'n'roll come to life -- of a band dragging themselves into a recording studio early in the morning after playing their hearts out for three or four sets till after 2 a.m. for lousy pay at some dark club, auditioning for yet another record label that was going to underplay and underpay them.
This disc really gives a vivid, unfaded snapshot of a '60s band at the top of its game, playing as if their lives depended on it even though they were wiped out from the night before. With all the covers mixed in with the originals, it also gives a solid sense of what their nightclub playlists were like. If you love historical context as much you love as great rock'n'roll, you really do get the best of both worlds here.

For more details read the other reviews, but as a quick recap--Boston scorchers The Remains, who were amidst a long term club gig in NYC, were offered an "audition" at Capitol Records. Showing up in the AM hours of Friday, May 26th 1966, after a club date the prior evening which most likely ran until the wee hours of the morning, The Remains recorded this set which you are now inquiring about.
I'll be honest, I just came across this CD recently, but I felt compelled to write something here just in hopes of making at least one more person buy this. This "session" is pure attitude! From the first track, the cover of "Hang on Sloopy," a song I've never really been fond of, I knew this band was for real. Seriously, when Tashian gives the "1,2,3,4, 1,2,3,4" around the :30 second mark they just explode. Sure the tempo is all over the place but can you really control raw energy? After a little studio banter they then power through the Kinks "All Day and All of the Night." A great Remains original, "Why Do I Cry," follows (the guitar solo on the second version of "Why Do I Cry" on this disc is even more scorching). Even on slower fare like "When I Want To Know" the boys don't lose their raw edge. I won't go through every track but this set is hot. The playful chit chat between songs shows the confidence of 4 guys on the verge of makin' it big. . . Yet an opening slot on The Beatles summer '66 North American tour led to nada--Capitol passed and The Remains disbanded in November of that same year. Was this a throw away session for Capitol? Whatever the case, these four friends, along with their guitar, bass, drums, keys and amps cranked, grouped together in the center of the huge Capitol Sudio A and rocked this set, and luckily not in vain. Mixed down live to a two-track monaural tape machine, the closest thing to a live recording of a "live" band slipped through the cracks and is here for us now in all it's unrestrained glory. Born too late to see these guys howling and destroying Boston bars with pure rock and roll in person, I'll settle for this CD, which isn't settling at all. Buy it.

It's so rare that a new release lives up to the hype put out by its record company, but this issue of The Remains long-lost Capitol Records live-in-the-studio audition delivers everything Sundazed's copywriters promised and more.

While I've always loved The Remains studio recordings (cf. the Epic issue "Barry and The Remains" (Epic/Legacy EGK 46926), the power of their finely honed live set was barely hinted at on their formally released records. This new disc showcases 13 tracks, some previously available on import, many never before issued, and the energy and confidence of this set only suggests what a force they must have been in a club setting.

Most of the tracks are covers, including The McCoys' "Hang On Sloopy" (one can only wonder what The McCoys did with this live), The Kinks' "All Day And All of The Night" (with Tashian adding a leering "baaaby" on to the end of several lines, not to mention his own version of Dave Davies' frantic guitar solo), Dylan's "Like a Rolling Stone", Chuck Berry's "Johnny B. Goode", Bo Diddley's "I'm a Man", Rufus Thomas' "Walkin the Dog", plus several of Barry Tashian's originals, including two versions of "Why Do I Cry", "Ain't That Her" (with amazing live harmonies) and "Why Do I Cry".

The chatter in between tracks displays an incredible looseness in the band. Considering this was an audition, and they were really hoping to get off Epic, you'd think they'd be a bit more nervous. Also, considering they were in the middle of a club run, playing gigs that lasted until 3 or 4am, and were in the studio at 10 or 11am to record this set, they sound really fresh.

Truly a great find for fans of mid-60s garage rock 'n' roll, and especially for fans of The Remains.

The first time I scanned through the nuggets box set, I was drawn immediatly to a song called, "Don't look Back". Now, if you have ever heard this song before, you would hear the raw energy and talent, gushing from the speakers. The moment I heard this song and found out it was the Remains, I drove to Ameoba in San Francisco in order to hunt them down. Now, this cd doesn't have "don't look back", (really, you should buyeverything by the Remains)but, it does lay down one of the most catchy, and fun "live demos" I have ever heard. The reason why the Remains never blew up is a mystery to this day, in fact it is a tradegy, lord only knows what they could of done. So Please do yourself a favor, put down the "children of the nuggets" box set "theres nothing on their that is remotly good" and buy the remains

To avoid any confusion, 'Session With The Remains' isn't their second album. They only released one lp, their self-titled record. This CD is a 'lost-in-the-vault' audition that (is supposed) to be of better sound quality than that French import title put on the New Rose label. I've heard both pressings, as I can barely tell the difference. Keep in mind that import is likely harder to find than hen's teeth. Tunes here I thought made the grade were their covers - like Chuck Berry's "Johnny B. Goode", their toe-tapping version of Bo Diddley's "I'm A Man" and the demos and studio rehearsals of Remains originals - "Ain't That Her", the heart-felt "Why Do I Cry", "Say You're Sorry" and "All Good Things". Deserves a treasured place in your hallowed music collection. A good pick. Long live garage rock & roll.

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various music supplies and recordings from the 60's and 70's.

Late February of 1996 Sundazed released a tremendous version of the Remains demo for Capitol Records in 1966 "A Session With The Remains."

The why question is asked often in rock and roll. Why didn't the Remains capture more of the record buying publics ears? The band had so many superlative attributes. They were able to open for the Beatles, had a sound strong enough to take on the British Invasion tunes and still keep their American (Boston) garage roots. We may never know what ingredient was missing as far as promotion goes but we are well aware how these guys could rock and roll.

The Sundazed CD gives six bonus tracks and from start to finish shows the consistency of the material. While the original demo for Capitol included only one tune the band would pen "Why Do I Cry" their ability to take on a cover song circumvents any lack of their own product.

You've heard Rick Derringer & The McCoy' and the Yardbirds do standout versions of "Hang On Sloopy" but the Remains rendition certainly allows them to play in the same yard. Next up they tackle the Kinks "All Day And All The Night." The rawness and energy creates a certain magic to their interpretation. The Remains take a bit from the Beatles and Stones for "Why Do I Cry." If you listen intently, there are influences from the Animals. If critics thought they could copy but not create, this erased all doubts. Bob Dylan's "Like A Rolling Stone" given a garage treatment for the music but a Dylan style vocal is pure brilliance as it approaches the four minute mark. Chuck Berry's "Johnny B. Goode" is in your face without an apology. The Remains move the tune to the next decade and the walls seem to shake during the ride. Bo Diddley's "I'm A Man" is garage flavored but never loses the Bo Diddley beat.

The term "Lost" is overused tremendously. There are the isolated times it can be stated with authoritative belief. Truly the Remains are one of the great lost bands of the sixties.


Enjoy the music and be well,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"

This is enjoyable music and is a good example of mid 60's rock. There are numerous covers here from Chuck Berry, Bob Dylan, Bo Diddley, The Kinks, etc. so I can't say this was the epitome of originality but it's all very well played and has a good energy level with good sound quality. If you are into mid 60's rock before the songs extended over 6 minutes and the guitar solos took over, this will probably be enjoyable to you. Good stuff.

In the movie `On the Waterfront,' Marlon Brando's character bemoans his fate after his brother - at the behest of gamblers - orders his sibling to throw a fight.

"I cudda been a contender," he complains. "I cudda been something!"

Different circumstances, same results; that could be said of The Remains.

The band had a rep as a hot live act up and down the East Coast. Showcased on Hullabaloo (whatever happened to Lada Edmunds, Jr., by the way); recipients of the recording contract with Epic and signed as an opening act (and backup band to Bobby Hebb) on the 1966 US tour by The Beatles, one assumed that success was in their grasp.

But no, that was not the case.

The deal with Epic went nowhere after a few singles were released. However, in a move that looked like it would result in someone becoming the Dick Rowe of Epic, the band was offered a chance to make a demo tape for EMI/Capitol. The coincidence that this was with the US label for the Fab Four - and the session occurred after The Remains were signed to be on the tour with the Fabs - should not be lost on you, the reader of this review. Once again, it seemed that the light of success was shining on Barry and his bandmates.

And so, the band went into the studio in late May 1966.

The album was released in mid-September, after The Beatles tour ended, thus allowing the band to tour intensely in support of it. For the next 45 days, they travelled the country west to east, with label mates The Cyrkle as opener and one or two other local bands filling out the bill. In Chicago, the Shadows of Knight replaced The Cyrkle for dates in Chicago, Milwaukee, Detroit, Lansing, Toledo and Cleveland. Upon reaching the East Coast, The Critters took over as the other name act. On Sunday, November 6, 1966, the tour played Convention Hall in Asbury Park, NJ. The opening acts were Jeckell and the Hydes from Linden and The Castiles from
Brick Township.

Sales passed the Gold Record plateau on December 20, as sales ahead of Christmas surged. The Remains headlined on the Ed Sullivan Show which included a taped Christmas message from The Beatles that included this quote from John Lennon: "Season's bleatings to The Reminders and to all a good blight!"

And the rest is history...Wrong!

The tapes - essentially recorded live without overdubs - show little more than a highly qualified bar band that could open for major acts as part of the typical "three acts before the attraction" tour package so typical of the period. The material, a mix of covers and original pieces - is solid, but with an absence of anything that causes you to rise up from your chair with excitement and enthusiasm. 'Like a Rolling Stone' is truncated and delivered with a lack of bile and bitterness that makes me wonder if the message of the song was lost on the band. 'Walkin' the Dog' sounds like that's what the group is doing.

As many can and do vouch for how good the band was live, one has to be astonished at the pedestrian nature of this recording. The songs are performed well, but without anything unique about the performance. One can imagione someone from Capitol A&R saying, "I see why nothing happened with them at Epic."

And, that was that for The Remains. They broke up ahortly after the failure to land a contract with Capitol. Thus ended The Remains...not with a bang, but with a whimper.

If you don't know anything about the Remains, please read my review of the "Barry and the Remains CD". The "A Session with the Remains" CD features the only live-in-the studio recording of the band, who was said to be one of the all-time most powerful bands on stage. In the studio, they usually had to turn the sound down, but on this particular recording, and audition for Capitol, they DIDN'T turn anything down, and according to Barry Tashian, lead singer and guitarist, it's the only recording that gets close to the true Remains' spirit. They play incredibly well and loud. The recording ends up with the blues number "I'm a Man", which defies description. Just hear it. You'll jump everywhere like mad (well, I did). The CD also features sessions outtakes and an original acetate, "Walkin' the Dog". A fine, fine CD for people who think that rock'n'roll must be played and recorded live or almost live, fast and loud !!!

With a minimum output, this band took every moment and extended it to uncountable moments of pure rock genius. Buy this CD and turn it up until your stereo explodes. Then buy another stereo and do it again. This is one of the finest CDs to find its way out in the recent garage/psychedelic re-issue rush. Tight and fast and loud and no apologies. Barry and the Remains rip through their set, make small talk and then proceed to rip through it some more. The Remains opened for the Beatles at Yankee Stadium and got the treatment you expect...but don't be fooled, these guys could run circles around those Liverpuddlians....anyday....

And if you disagree, i will personally cause the Pentagon to levitate.