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Shannon & the Clams|I Wanna Go Home

I Wanna Go Home

Shannon and The Clams

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This is one of those bands that is almost certainly better live than in the studio -- in part because when they play live they probably don't sound as if they're trying simultaneously to channel the Ronettes and the Ramones through a half-broken cassette recorder. It's not that channeling the Ronettes and the Ramones simultaneously is a bad idea -- the Dollyrots have been doing that brilliantly for a decade now. What's a bad idea is mistaking ultra-lo-fi recording as the end rather than the means to an end. I Wanna Go Home opens with "Troublemaker," an incredibly trashy-sounding slab of 1960s garage punk/girl group fusion. Then comes "The Warlock in the Woods," which, unbelievably, sounds even trashier, as if it were recorded on a half-broken cassette recorder through a tin can. On "You Can Come Over" the rawness works better -- Shannon Shaw's lyrics are primal and desperate, and the music reflects them perfectly; there's a similarly felicitous balance in evidence on "Blast Me to Bermuda," which sounds like the B-52's after a particularly hard night of drinking and brawling. Both "Waiting for You" and "Take It Back" would also have worked pretty well if it weren't for Shaw's painfully out-of-tune singing. This all adds up to an album that's interesting to listen to once, but not more than that.

© Rick Anderson /TiVo

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I Wanna Go Home

Shannon & the Clams

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1
Troublemaker
00:02:50

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

2
The Warlock in the Woods
00:03:02

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

3
You Can Come Over
00:02:26

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

4
Surrounded by Ghosts
00:03:12

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

5
Cry Aye Aye Aye
00:03:05

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

6
Take It Back
00:03:24

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

7
Scuffle with the Clams
00:02:33

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

8
Blast Me to Bermuda
00:01:51

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

9
Cat Party
00:01:19

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

10
Waiting for You
00:03:04

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

11
When You're On
00:02:29

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

12
I Wanna Go Home
00:03:18

Shannon and The Clams, MainArtist

(C) 2009 1-2-3-4 Go! Records (P) 2009 1-2-3-4 Go! Records

Albumbeschreibung

This is one of those bands that is almost certainly better live than in the studio -- in part because when they play live they probably don't sound as if they're trying simultaneously to channel the Ronettes and the Ramones through a half-broken cassette recorder. It's not that channeling the Ronettes and the Ramones simultaneously is a bad idea -- the Dollyrots have been doing that brilliantly for a decade now. What's a bad idea is mistaking ultra-lo-fi recording as the end rather than the means to an end. I Wanna Go Home opens with "Troublemaker," an incredibly trashy-sounding slab of 1960s garage punk/girl group fusion. Then comes "The Warlock in the Woods," which, unbelievably, sounds even trashier, as if it were recorded on a half-broken cassette recorder through a tin can. On "You Can Come Over" the rawness works better -- Shannon Shaw's lyrics are primal and desperate, and the music reflects them perfectly; there's a similarly felicitous balance in evidence on "Blast Me to Bermuda," which sounds like the B-52's after a particularly hard night of drinking and brawling. Both "Waiting for You" and "Take It Back" would also have worked pretty well if it weren't for Shaw's painfully out-of-tune singing. This all adds up to an album that's interesting to listen to once, but not more than that.

© Rick Anderson /TiVo

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