Dog Bar Yacht Club Willie "Loco" Alexander

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CD

  • Release Date: 01/10/2006
  • Sales Rank: 129,654
  • Label: LAST CALL RECORDS
  • UPC: 614511734820

Listener Rating: (1 ratings)

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  • Overview
  • Tracks
  • Editorial Reviews
  • Customer Reviews
  • Details & Credits
Track List
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Dog Bar Yacht Club

1LISTENGravelly Hill 4:29
2LISTENHey Kid 3:41
3LISTENAt the Post Office 5:32
4LISTENFred Buck's Footsteps 6:12
5LISTENWho Killed Deanna 4:36
6LISTENHigh Tide Heroes 3:32
7LISTENOceans Condo III 4:47
8LISTENOh Daddy Oh 3:46
9LISTENTelephone Sex 4:05
10LISTENOgalala 4:28
11LISTENAaww 3:08
12LISTENMystery Training 3:23
13LISTENSo Innocent 5:51

About this Artist

Editorial Reviews

When Willie "Loco" Alexander & the Boom Boom Band split after 1979's Meanwhile...Back in the States on MCA, Alexander immediately picked up the slack by having a Boston area power trio, the Neighborhoods, back him up on-stage while he began recording the first of his many releases on the European New Rose label. The original Boom Boom Band reunited 23 years later, only to go into the studio owned by the Neighborhoods' guitarist/vocalist David Minehan. The results are phenomenally great, only proving that had the rock & roll minefields not existed to stand in this juggernaut's way, Willie Alexander & the Boom Boom Band would have emerged as Boston's answer to the Rolling Stones, and then some. While there is new material here, the band doesn't shy away from recovering some of the music Alexander released after the split. "Oh Daddy Oh" from 1982's A Girl Like You album gets a driving new finish, while "Ogalala," originally issued on 1997's Persistence of Memory Orchestra CD, has a new perspective that gives Alexander the platform to go "loco," the stuff that made this group so irresistible in the first place. "Who Killed Deanna" from 1999's East Main Street Suite is one of the album's highlights -- the "Som-Som-Somerville" hook is haunting inside a true murder mystery that happened on the outskirts of Boston. That album also featured a track entitled "Ocean Condo II," which was a reworking of the original "Ocean Condo" from 1988's The Dragons Are Still Out, reprised here with Billy Loosigian's amazing guitar work as "Ocean Condo III," of course. The band also rocks out "AAWW" -- which some of the fans decipher as "All American Woman Wife" -- the flip of a 45 that was originally intensified by the band from the live Autre Chose album in 1982. It's a tasty way for the devoted to see how this material would've played out had the Boom Boom Band stayed together. Even the underground classic "Telephone Sex" from 1984's Taxi-Stand Diane EP finds itself resurrected here to good effect. Keep in mind that this group began by picking up the material Alexander was releasing on the independent Garage label in the mid-'70s, so one also gets the vibe that the group is truly going back to its roots and reinventing stuff that Willie did separately. A cover of scenester Emily XYZ's "Hey Kid" gives the band a different "new wave" feel, while Alexander and Loosigian combine to write four new tunes, including the interesting "Mystery Training," which dips into Willie's jazzier influences. The Boom Booms deliver close to 60 minutes of triumph, an album that is among their finest studio work to date, equal to the superb (and still missing in action) Craig Leon-produced demos from Dimension Studios in 1977 that landed them their deal with MCA. Dog Bar Yacht Club is no fluke; in performance Willie Alexander & the Boom Boom Band play this material flawlessly and with the fury they had when they reigned as the kings of the Boston scene. Joe Viglione, All Music Guide

Customer Reviews

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Dog Bar Yacht Clubby Anonymous

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May 02, 2007: Okay, I have to take a deep breath for this one, because this album is so spectacularly lousy. I was a fan of Willie Alexander and his Boom Boom Band ages ago, and still like his MCA Records output (particularly the debut LP). I like some of his '80s solo material as well as '90s work he did with his Persistence of Memory Orchestra. I got a chance to pick this new reunion album up cheap, and when I finally got around to listening to it I was astonished by 1) how bad it is and 2) that there are people out there giving this piece of garbage 5-star reviews. First off, Willie Alexander has nothing left to say. I have never heard a person who likes to hear himself talk this much but with zero content. Alexander yammers repetitiously throughout the album, much of the time just repeating song titles over and over when he's not busy quoting lines from earlier songs of his own or blathering about the same 5 locations in Boston for the eight billionth time. "Fred Buck's Footsteps," about a mail carrier, has to be among the most overblown and pathetic "tribute" songs ever written. Over the course of 6 excruciating minutes, you get to hear Alexander say the title about fifty thousand times, when he's not equating the mailman's footsteps with--get this--the film Birth of a Nation and the flippin' Rosetta Stone. Or when he's not telling us that the mailman's footsteps could fill the Grand Canyon. But all of that is pure poetry compared to the useless sludge of songs like "Telephone Sex" if you've heard one Willie Alexander song you can already guess exactly how this one goes: he says the title a thousand times, then lists a bunch of girls' names, and then says the title a thousand more times (including, annoyingly, about a hundred times where he shortens it to "T-sex"). I could go on and on, as most of the songs are so bad I could spend a hour telling you why, but why bother? Well, let me go on a little more: the only decent song here, "Hey Kid," wasn't written by Alexander the closing number, "So Innocent," starts out okay but then Alexander starts babbling about how he "must have been hitchhiking"--where, you ask? Why, Mass. Ave., of course! The site of eight trillion other Alexander songs and utterances! Jeez, Willie, I know you are "Loco" and everything, but could you leave a five-block radius once in a while? Then there's the band. If you want warmed-over bar band music, fine. But for those of you unfortunate individuals who are so uninformed and limited in your scope that you think this is edgy punk rock, you must own about 5 albums. If you really think these guys are the best at anything other than being lousy, you really know nothing about music, and you are seriously deluded or just too darn old to have any sense left. The group was never punk--they were a lame Boston bar band, even at their best. I can't say enough times how bad this album is. If you like it, you are a Willie Alexander fanatic and that's a problem right there. No reasonable individual could possibly do an objective critical analysis of this album and determine that it is great. I have heard thousands of albums and have been paid to do so. I never bother writing anything about music on any customer review site. However, this album is such an unbelievably bad piece of vomit that I can't stop talking about exactly how bad it is. I feel very sorry for...