The Patsys - Press



	the kindness of strangers LEFTOFFTHEDIAL LEFTOFFTHEDIAL First off, buy this album. Secondly, I apologize to The Patsys for taking so long to review this album. I actually got into the habit of keeping this CD in my car and listening to it while driving. Thus, as should have been foreseen, in my move from Colorado to North Carolina, things got shifted and lost. I found it again while back East, and it became a staple for my many drives between Richmond and Durham. While I’m sure you’re not too concerned about my habits, I am in fact making a loose point. After countless listens and moments of amazement found in the album, I still never wrote about it. Sorry. Now I feel I can’t give it the justice it deserves, as I can’t correctly recount that immense excitement I felt during its first spins. All I can say is that this is one album that has come across my desk while at Left Off the Dial that will never leave my CD player – or the stack close by. When putting this in my player again, I realized that I had become so familiar and comfortable with it that it didn’t stick out any more than any of the other albums I’ve been playing a lot recently. That may sound like a put down, but I mean that in the highest regard; some albums for review stick out in a bad way, much like a sore thumb as they say. This blended in perfectly, even surpassing some in the changer right now. I kept checking my player thinking I had accidentally queued up an Only Ones album. I hadn’t. I first started digging The Patsys from a 7” I reviewed sometime back – just two songs, and I was hooked. I joined the ranks of reviewers all over with the same comment: “I sure can’t wait for that full length.” I guess on the thirteenth kick they gathered up their 7”s and released a collection on Umbrella. The Patsys have managed to exude a power-pop perfection that is rare these days. Effortlessly they combine the ease and cool of the Replacements with the barroom sleaziness of the Detroit Cobras. Garage and pop in a perfect, raunchy marriage. Standout tracks? Seriously, the whole album is great, but “Gone” is amazing. - Chaz Martenstein, LEFTOFFTHEDIAL, December 19, 2005 Resonance When do people outgrow "Teenage Kicks?" According to Columbus, OH, outfit the Patsys, never. This first full-length, a collection of singles and new cuts, echoes age-old rock brashness. Vocalist Tutti Jackson's wail vibrates with snotty attitude over warbling keyboards and guitar chime, but the template has worn edges from heavy use over the years. The influence of pioneers--the Sonics, the Pleasure Seekers, or the Music Machine--rings true on a few tracks, as in the declarations to girls and thrills and nasty sentiments ("God Bless Elliot Dicks" and "Beneath You"). These multiple, unoriginal impressions from the original '60s spirit of defiant rock & roll remain derivative to a fault, but the Patsys still get kicks well. - Chris Toenes, Resonance #46 Splendid On the Thirteenth Kick collects The Patsys' four hard-to-find (but totally worth the trouble of looking for) EPs in a single, highly portable volume suitable for home, vehicular or field use, and sweetens the pot with a trio of previously unreleased tracks for folks who already own the group's entire recorded output. I'm part of that group -- you can find my reviews of those EPs here, here, here and here. For newcomers, here's a summary: The Patsys are a no-nonsense, blue collar-friendly garage band, by which I mean that they're from Columbus, OH, their members cut their teeth in other successful bands, and they don't look like a bunch of Brooklyn baristas. Their sound is rooted in sixties rock and soul, but it doesn't sound dated or trendy -- it's hard-edged, punk-inflected, deeply satisfying music for people who order PBR because it's cheap. Vocalists Tutti Jackson and John Stickley cover a wide swath of the boy/girl spectrum; Stickley voices many of the band's best songs (especially "Beneath You"), but Jackson stands out: she's scrappy, sultry and often alarmingly angry, with hidden reserves of punk-era squeak (see "Invisible Girl") and dispassionate drawl. In the interest of not repeating myself, I won't gush over On the Thirteenth Kick's previously released material (other than encouraging you to buy it); I'll just tackle the new stuff. Opener "God Bless Elliot Dicks", presumably dedicated to its Nerves drummer/recording engineer/Columbus expat namesake, makes a powerful lead-in, roaring out of the gate with frenzied drum fills, a few chunky riffs and a pick-slide. You'll hear an organ droning beneath the brawny, bluesy verse, and a wah-wah guitar's nasal noodling behind Jackson and Stickley's sneered vocals during the song's final minute. It's powerful stuff -- a go-to song for opening or closing a set, no question. "Third Finger, Left Hand" (Take a second to look at your hand and count the fingers; get it? Ring finger.) is a bit of an oddity -- essentially a two-part call-and-response. The first part, all sing-song sixties goodness enhanced by Mark Wyatt's seething harmonica-work, is sung by the guys in the band -- it's delivered from the perspective of a lovestruck guy who's trying to propose to his "mean" woman. In the second half, Jackson delivers a barroom-style beatdown: "I may wear your collar / but I ain't gonna be your dog / I ain't the kinda woman / that needs a man to come on so strong." Hopefully it isn't too late to return that engagement ring... Midtempo rocker "The Girl in Question (Child, Child)", the album's final new track, gives Stickley a chance to shine. "Why don't you treat me like a man?" he pleads. Guys, cue this one up -- hell, keep the whole damn record close at hand -- if you're having woman troubles. With the right producer, the right kind of exposure and a solid full-length behind them, The Patsys could be the next BellRays. Shit, they could tour with the BellRays -- make some kind of bigass, badass rock 'n' soul convoy. If you're reading this, Patsys and BellRays, why not get together, drink some beers and hammer out the details? World domination could be just a tour away. - George Zahora, Splendid E-zine, (Downers Grove, IL) August 8, 2005 Delusions of Adequacy Finally, the entire collection of Columbus, Ohio’s The Patsys’ Umbrella singles on one convenient disc. This is the kind of effort that is usually the result of indie-rock nerdery, but lucky for us this unsung garage-rock powerhouse seems to be concentrating as much of its efforts on delivering flawless rock-and-roll keepsakes as with downing PBRs. Musicians of Ohio take note: you can retain the dirty and dangerous mystique of punk rock and still work hard to deliver a good product. For those not in the know, this quartet plays tough soul, garage, and mod-influenced rock and roll that delivers both dance-floor lightening and anthems of rebellion. If it weren’t for her age, lead vocalist/bassist Tutti Jackson (formerly of Action Family) would’ve been the perfect alternative to Joan Jett as frontwoman of the Runaways. Previously released on banana-yellow vinyl as part of the series, the band delivers a fabulous cover of Undertones’ “Teenage Kicks,” which sums up the spirit of this band. Some of my other favorites here are the indignant, “Third Finger, Left Hand” and the bass-heavy, “Beneath You,” which highlights the considerable strengths of male singer John Stickley. If you’re looking for high volume, big balls, and a band that deserves your undivided attention, then it’s high time that you get acquainted with The Patsys. - Tim Anderl, Delusions of Adequacy, 08/05. 2005 City Newspaper The recent addition of ex-New Bomb Turks guitarist Jim Weber to the Patsys' frontline makes perfect sense. Like it's Columbus, OH, neighbors, the band sounds like it ended up playing garage rock by chance. Consequently some of the structure, posturing, and formula is gone. So it ain't pure, but it's real good. The Patsys color within the lines for the most part; the music stomps fast and loose but never threatens to get really out of control. But with the right mixture of Genny, rock'n'roll enthusiasm, and steamy romantic anticipation, the joint might just boil over when the Patsys and Japan's action-comic-punk band Peelander-Z play Thursday, August at the Bug Jar. - Frank De Blase, City Newspaper, Aug 3-9, 2005 (Rochester) Village Voice The Patsys are vaguely early Pretenders-like garagers from Ohio whose bass-playing tuff-girl Tutti Jackson has a midwest drawl that knows how to strut; sometimes a boy's voice or tinkly antique organ or Undertones cover chimes in. - from Village Voice Voice Choices Aug 3-9 Time Out (New York) Off the radar of "saviors" like Little Steven, real garage rock is being made by kick-ass bands like these. From Columbus, OH - a town that still hasn't gotten it's full due for all the great arcane rock it's produced - come the Patsys, whose brand of garage rock swings mightily on On the Thirteenth Kick (Anyway). Bring your dancing shoes, because rock & roll is dance music (not noise pollution). - Time Out preview for the Patsys/Turpentine Brothers Aug 5 show. Fufkin A compilation of single sides from an Ohio quartet that likes basic rock and roll. You can find songs that touch on ‘50s style basic rock, ‘60s garage and ‘70s punk, and the band plays them with lots of spirit and skill. It helps that they have a great frontwoman in Tutti Jackson. Jackson has a tough chick voice -- mix in parts of Exene Cervenka, Debbie Harry and Wendy (The Paybacks) Case, and that'll give you an idea of her sound. While many of the songs are in an R & B or blues based vein (like "You're Gonna Pay!"), and it's their bread-and-butter, two of the best songs are more melodic. Of course, when you cover The Undertones, you will have scads of melody, especially when it's a version of the standard bearing "Teenage Kicks". The Patsys certainly do right by the classic. Meanwhile, they invoke another classic on "In and Out With You", which comes pretty darn close to being a re-write of The Only Ones' "Another Girl Another Planet". Close enough to be really fun, but not so close that it bothers me too much. In a couple of other spots, The Patsys gravitate to slinky territory also traversed by the Detroit Cobras, with Jackson's vocal on "Third Finger, Left Hand" being particularly inspired. With the exception of the aforementioned "Kicks", all of these songs are Patsys originals, and they write swell tunes. They even throw in something in the vein of Neil Young and Green On Red, on "Gone", where John Stickley's lead guitar work and ragged lead vocal are both exceptional. This is a lot of fun, and I can't help but like a band that titles a song "Never Kill a Boy on the First Date", and you should like them too. Mike Bennet, Fufkin, June 2005 Americana UK The 'low' point of The Patsys' On The 13th Kick comes with a very passable cover of The Undertones Teenage Kicks, not the worst condemnation a band has ever suffered. The problem is that it's just too faithful to the original and with a song that's indeliby etched on a genration's psyche and when it's set against the originals around it, the song never quite sounds as if the band's heart is fully in it. That's a charge that can not be levelled against the other 11 tracks because they combine to give a swift, short, sharp kick up the bum of rock 'n' roll. The album itself is a compilation of The Patsys Umbrella singles, plus three previously unreleased tracks and they introduce a band who have expended a great deal of energy in the cause of their muse. But honest toil and sweat will only take you so far and, while listening to On The 13 th Kick can sometimes feel like facing the teeth of a storm, there are a few subtleties to keep your interest alive beyond the initial shockwaves. As the CD progresses, Teenage Kicks becomes a red herring for another reason because while this is a rough-edged, raw and raucous album, fuelled by aggressive guitar riffs and vocals that inject an in built threat into every lyric, its influences come from a few years before punk. The Patsys have drawn their inspiration from the kind of 60s bands that didn't wear nice suits, have mop tops and sing the kind of songs you could let your granny listen to. On The 13th Kick comes from the garage and the underground of the peace and love decade, this is a subversive little collection. Invisible Girl for one has anarchy running through it. The kind of anarchy that was around long before Messrs Rotten, Vicious and co. The Patsys and On The 13th Kick are a glorious reminder of a time when rock n roll merited having the word rebel tagged on to it. It's loud, fast, mean, moody and great fun. (6 out of 10) Michael Mee, Americana UK, June 2005 Indigo Flow The Patsys have released a number of singles since 2002 and at some point last I suggested that it might be time to release an album. When I made that call, a collection of the songs on those singles on one disc wasn’t quite what I meant, though On The Thirteenth Kick does feature three new songs too. Stomping their way through twelve tracks of three chord garage rock, The Patsys are not without an ear for melody, something which shows up best on In And Out With You as John Stickley and Tutti Jackson’s shared vocals are used to their fullest. They’re not always as tight as they could be and on occasion they sound a bit too rigid but every song has an idea that varies from the last and has the band pushing a genre not that varied into as many shapes as possible. I’m going to have to talk about their cover of The Undertones’ Teenage Kicks sometime and it might as well be now. It’s probably safe to assume that in the US this song isn’t linked in to the emotions of the nation’s music fans in quite the same way as it is over here. The Patsys’ version is pretty much a note for note copy of the original, though this is unfortunately one of the moments when they are just a bit too rigid. It could have been a lot worse though. In The Thirteenth Kick is an album of ups and downs and it fairly inconsistent, largely due to it being recorded in brief bursts over a two year period. It's a good introduction to The Patsys though and shows signs of the band they might just become. Andy Malt, Indigo Flow, May 2005 Smother.net You may remember our previous discussion of their 7” “In and Out with You” and their “Beneath You / Gone” EP. Well they haven’t progressed much from either of those releases. Why? Because this is really just a re-packaging of all their singles and music to date under the guise of a full-length. The marketeer in Steve Albini (yeah he’s their producer) is certainly grinning. They’re still pissy sounding anti-establishment garage rock that’s just as predictable as you’d imagine. Complexity aside, Clash fans will drool over it. J Sin, Smother.net, April 2005 Heraclitus Sayz The Patsys are alright overall. They have the abrupt, no-holds-barred sound of a well-realized garage rock band, and will certainly appeal to virgin fans who are unacquainted with the classics. To their credit, the Patsys maintain the necessary balance: they're not particularly sad or crass and they're not particularly uplifting. They don't take themselves too seriously, but they're serious enough. They have the sound of a group that could make it to the top—if only the band members had tried this thirty years ago. Herein lies the problem. No, they're not bad. Yes, the flaw is in their genre of choice. If having fun is what matters most—and if you've already maxed out your classics collection—then buy the CD. The problem is, they could do better, especially when faced with the many great, similar-sounding rock bands out there—classic and modern. Don't assume their sound is exactly derivative, but the Patsys nonetheless evoke memories of days long gone, and this is a problem as well. To wit, they have been compared at length to the idols like Shane McGowan and the Kinks, which likely hurts more than it helps. Give them a listen, if you want—it won't hurt you none, and they're fun enough—but they need to realize it don't take much to be a well-realized garage rock band—or they're done for. Heraclitus Sayz, April 2005 LEFTOFFTHEDIAL As any music geek out there knows, when the word gets out about the number of copies of a single being pressed, the single all of a sudden becomes clutched that much closer to the heart; especially when it’s good. A limited 500 copies of this seven-inch single were pressed, 100 of which appear on colored wax. Sadly, I did not receive one of these colored editions, but nonetheless, I was extremely glad to receive one at all. These boys hail from Columbus, OH bringing with them a boisterous power garage sound. Only one side of this seven-inch really needs talkin’ about, and that’s the single “In and Out with You.” The flipside finds the Undertones’ hit “Teenage Kicks” covered in all its original glory – nothing short of impressive and showcasing the bands’ roots. “In and Out with You” mainlines confusion and clumsy infatuation with a woman just out of reach. It is powerful and innocent with a chorus hook worthy of a certain ‘Mat himself. Leaving any form of pretension on the studio steps, these four gents are just out to make fun, carefree music. They have a timeless, old, punk rock’n’roll sensibility, and the right amount of humor to go along with it. The attached press sheet gives no actual press, but instead offers a grinning detail for proper care for a 45, a packing list, a manual for operation, system requirements and their address/website tacked at the end. This is a genuine, great single and comes highly recommended. I now join the list of those anticipating the full-length. Chaz Martinstein, LEFTOFFTHEDIAL, March 14, 2005 Splendid Here's the quick and dirty rundown for vinyl collectors and people who buy things just because I say they're good: Two garage-rockin' but encouragingly unaffected songs. One Undertones cover. Banana-yellow vinyl. Capable but underappreciated band. If you're still reading, I'll assume that you need more of a hard sell, so here we go. The Patsys are a garage rock band in the best sense of the term -- a little too polished to be punk, far too pissed off to be establishment-friendly rock. These four veterans of the Columbus, Ohio scene have been working their magic together for a couple of years now, but they've yet to release anything meatier than an EP; their songs are invariably simple, hummable and eminently suitable for rebellion fomented at high volume. Lead vocalist Tutti Jackson has one of those great "tough chick" voices, too -- all husky and throaty, like Joan Jett after a fistful of pills and a bottle of vodka. She sounds sullen and kind of pissed off on "In and Out with You", which works well with the song's general air of romantic confusion (unless I completely misunderstood the chorus and it's actually about fucking). Steve Albini engineered this little gem, so it sounds straightforward, clear and very up-front. It's also a bit New Wavier than previous Patsys songs, in that almost intangible early eighties semi-punk spiky-haired way -- think Scandal, only with balls -- but The Patsys make it timeless. The B-side -- or rather, the other A-side -- is an earnest cover of The Undertones' "Teenage Kicks". Frankly, if you screw this song up you have no business owning instruments, so The Patsys earn no bonus for complexity, but theirs is definitely one of the most heartfelt, replayable versions I've heard. If I'm not mistaken, that's Tutti Jackson singing again, so if you're familiar with the lyrics you might get a little girl-girl thrill as a bonus. Each time I've reviewed a new Patsys EP, I've ended by pretty much demanding that the group release a full-length album, and pronto. This time I don't have to: On The 13th Kick, which collects The Patsys' singles to date and bundles in a few previously unreleased goodies, will arrive in stores on March 14th. That's next week. Put some money aside for it now. I'm sure The Patsys don't actually know that it's the day after my birthday, but I'm going to pretend that they do. Thanks, Patsys. George Zahora, Splendid E-zine, (Downers Grove, IL) March 9, 2005 Now Wave Another classic power pop gem to add to your indispensable stacks of wax. “In And Out With You” has got the melodic pop and slightly buzzy punk that all the authentic power pop kids enjoy. Whether the fact that Steve Albini twiddled the knobs for this song has anything to do with its impeccable sound, I can’t say. All I know is that it should garner at least an honorable mention in the “perfect pop song” category. While not as majestic as say, Cheap Trick, and not quite as raw and raging as the Buzzcocks, the Patsys strike a balance in between, giving you enough of a catchy chorus to bounce around your brain while at the same time enough edge so that the 7” can rightly sit beside legends like the Undertones. On the flip, they cover said legends and do it justice. I’m quite impressed with Umbrella’s debut release! Kudos. Mark Hughson, Now Wave, November 22, 2004 Boston Groupie News (from their Top Ten list) 8. In and Out With You: "Nice raw pop diddy. Great mastering...sounds loud with the volume on two." Past and Present Webzine Garage-rock band The Patsys, which isn’t a band with girlie band-members named Patsy, has been releasing these singles since 2002 and boy did the garage-rock revival of yesterday miss out when it decided that The Patsys weren’t gonna be having their fifteen minutes of fame. Why? Because they have what a lot of those other bands didn’t: Good songs. Okay, they’re not the best thing ever and you probably have heard something that sounds like this before, but there’s definitely something about this band that I like. The first two singles “You’re Gonna Pay” and “Never Kill A Boy On The First Date” are more up-beat and raw than the newest single and really don’t show much growth at far as songwriting goes, although both singles are fine. On the newest single the band shows itself from an a little more mature and relaxed side (okay one of the two songs is along the lines of their earlier stuff) with some more relaxing stuff produced by Steve Albini that sounds like something that could’ve been taken from Steve Taylor’s “Squint” album. Now the only thing this band needs to do is to release a full-length. It has to be good. Hans Jakup Eidisgard, Past and Present Webzine Issue 24, (Denmark) August 2004 Riverfront Times Like most garage bands worth their grease, the Patsys dig their vintage gear and vintage yelps and yeahs, but they also attack songs like time-warped double A-sides -- two years together and they've only released singles -- or taunts to Neighborhood Watch to shut their shit down. With a Yardbirdsy guitar snarl and a hellacious drummer, this Columbus, Ohio, foursome cuts trashy go-go grooves with hooks too shiny for punk and too violent for power pop. They write prickly, flaunting kiss-offs, promising never to kill on the first date, brooding over a wedding band getting tighter with every itchy second and tallying betrayals like the devil's CPA. They rock like they want the world yesterday and they want a receipt, even if their sometimes vengeful, sometimes righteous threats mean they're bound to fuck it up further. "If I had a dollar I'd buy this town," bassist Tutti Jackson scoffs, "and spend every nickel just to burn it down." At the precise moment the garage Zeitgeist threatens to stiffen into a Nuggets diorama, the Patsys jar loose that tricky, electric thrill that is rock & roll's toughest secret -- play it like you're making it for the first time. Roy Kasten, riverfronttimes.com (St Louis), August 25, 2004 Playback What Can You Really Say About a Band Crazed Enough to Call a Song "Never Kill a Boy on the First Date"? Attorneys know never to ask a question for which they themselves lack an answer, and the same holds true for music reviewers and similar scribblers. In that regard, to the interrogative title to this dispatch, consider this response: “Find out firsthand by visiting Frederick’s Music Lounge this Saturday, August 28, to hear the Patsys.” That response, of course, should prompt a second question: “Who the hell are the Patsys?” The band and I alike appreciate your cooperation here, it almost goes without saying. In any event, they hail from Columbus, Ohio, and number four: Tutti Jackson on vocals and bass, Stewart Nicol on guitar, Jeff Regensburger on drums, and John Stickley on vocals and guitar. Before the Patsys’ formation in the spring of 2002, the four of them performed in various other bands in the Columbus area and elsewhere, and—someone sound the factoid alert—Jackson provided backing vocals to “Soap Star Joe” on Exile in Guyville, Liz Phair’s 1993 debut. Such background pales into insignificance before their musical foreground, though: the Patsys play latter-day punk with enough back-alley brio to invite comparison to giants of that subgenre. This I can attest based on a three-song promotional CD mailed to the Sports Desk earlier this month. The disc opens daintily enough with “You’re Gonna Pay!”—a thing of caterwauling vocals and an obvious duel to the death between Regensburger and his drum kit that Johnny Rotten in his heyday would’ve probably loved, had the Sex Pistols’ trigger man ever felt an inclination to admit to loving anything at all. Next comes the mordantly if mysteriously titled “Never Kill a Boy on the First Date,” on which Jackson and Stickley harmonize more accessibly than John Doe and Exene Cervenka but less glossily than Deborah Harry and Chris Stein; in places on this track, Stickley also sounds vaguely like Shane MacGowan, only not three sheets and several pillowcases to the wind. Finally, “Beneath You” inspires no namedropping from the roster of punks past—the hypothetical readership of this dispatch should feel free here to heave a collective sigh of relief—but may well qualify as the most memorable of the three tracks, with its cyclonic attack, bass growl, and modulated feedback. At one point, moreover, Stickley snarls, “You’re a little black cloud in a little black dress,” and the line hits home like a gutter epiphany, a kiss-off delivered at 3 a.m. amid broken beer bottles beneath the flicker of a short-circuiting streetlight. “Since their inception,” notes the press kit (duh) accompanying the disc, “the Patsys have recorded and released a series of CD singles on their own imprint, Umbrella Records.” According to the same source, forthcoming is a compilation of those singles, and based on the Patsys’ promo CD, that qualifies as exciting news indeed—although punk has always embraced the philosophy of “less is more,” three tracks simply aren’t enough to satisfy the sonic jones this quartet sparks. As a special treat, incidentally, accompanying the Patsys at Frederick’s will be the Sports Desk’s old verbal sparring partner, Mark Wyatt. “I’ll be sitting in with them on keyboards, harp, and handclaps,” he informed me by e-mail at the beginning of August, “and it should be a kickass night.” Those in the know will consider that a ringing endorsement, of course: Wyatt numbers among the Twang Gang—the volunteer board of directors of Twangfest, St. Louis’s acclaimed annual four-day celebration of the best in rock, roots, pop, and country music—so he knows whereof he speaks. Also performing at Frederick’s this Saturday will be the Phonocaptors, and the show starts at 10 p.m. or whenever the musicians in question feel like taking the stage. Go. Listen. Rock. Okay? Brian A Hollerbach, Playback St Louis Pop Culture, August 24, 2004 Splendid I think my fellow Splendid staffers would agree that while we're all in favor of inventive CD packaging, we're mildly annoyed by inventive CD packaging that we have to damage or destroy in order to listen to the CD within. I've always enjoyed these Columbus, Ohio-based garage rockers' work, but this two track outing arrived in such compelling packaging -- wrapped in black tissue paper sealed with black tape, tied up with a big black bow and personalized with a black enclosure card bearing "Beneath You"'s first line in livid white ink -- that I was loath to dismantle it. Based on the retail-looking inner sleeve, I suspect that the tissue, bow, et cetera were purely for initial impact, but I still spent a few minutes attempting to reassemble the full package... Anyway, on to the music. "Beneath You" is an "evil woman" song. You've heard 'em before -- they're all about the ladies to whom we foolish menfolk form the sort of addictions that make heroin look like Kool-Aid. The Patsys are masters of the form, from the scene-setting opening line ("I've loved you so long sometimes it's all I can remember...") to the tune's killer chorus: "You're a little black cloud / in a little black dress / you're a bad, bad day / you're a whole night's rest / you're the end of my world / you make my blood run cold / you love me with a heart of stone." Sums it all up nicely, doesn't it? David Jackson's organ accents are merely the icing on a ferocious cake. "Gone", the de facto B-side -- or should that be AA-side? -- features the behind-the-board talents of one Steve Albini. The mid-tempo tune doesn't bear an obvious Albini stamp, but its Stonesy blues is deliberately less polished, its vocals earnestly discordant. It's likely to be overshadowed by "Beneath You" in the short term, but no worries -- this is the sort of song you discover months after buying a record and then play 147 times in a row. So, Patsys... where's the damn full-length? Sounds like you're more than ready. George Zahora, Splendid E-zine, (Downers Grove, IL) September 20, 2004 LEFT OFF THE DIAL “I’ve loved you so long sometimes it’s all I can remember… the patsys.” This was the note tucked in with the CD single I was sent by The Patsys. It’s very romantic, and they have succeeded in getting my attention. It’s as if a little girl were tugging at the hem of my pretty skirt, pleading with me to buy her a lollipop or something… so innocent, so manipulative. The song is “Beneath You” and it’s pretty good. There is organ playing, which almost always makes for a good song, as far as I’m concerned. “Beneath You” is mysterious and raw and a glimpse of delicious things to come. The “bonus” track is “Gone,” and I wasn’t as impressed … even though it was engineered by Steve Albini, über college rock wunder and friend to these Ohio-ians. After just a bit of research, it is very clear that this band loves to make songs and put them on CD – but only a couple at a time… The Patsys are a tease!!! First they love me, and then they only give me two songs… When is a proper full-length coming out? Brenna Krause, LEFTOFFTHEDIAL, July 2004 Sponic Zine Columbus, Ohio quartet The Patsys are no strangers to the indie scene, consisting of vets like original Gaunt drummer Jeff Regensburger and Action Family bassist Tutti Jackson. Their latest single takes cues from fellow Ohioans like Thee Shams and The Greenhornes while recalling the gloriously straightforward melodies of The Kinks. The Patsys’ brand of garage rawk – at least on this two-song single – is credible but unremarkable. “Beneath You” features some buried organ playing from David Jackson (of Cincinnati’s Montclaire) and standard verse-chorus-verse progressions that do little to reinvigorate a genre already overcrowded with proficiency. Still, it’s a well put-together song with solid production. “Gone” was recorded by Steve Albini at his Electrical Audio studios in Chicago, which is puzzling since it’s the weaker of the two tracks in terms of songwriting, production and performance. It’s not bad. It’s not great. It’s just kinda there. Probably good live, though. John Wenzel, sponiczine, June 2004 the Other Paper Openers the Patsys are a load of local veterans who've never given up, and we're the better for it. When guitarist John Stickley sang lead on "Into the Woods" he was like a garage-rock Bryan Ferry, all suited up with nowhere to go with his post-teenage frustration. Between him and bassist Tutti Jackson the pair were twin pillars of intensity, especially as Jackson delivered the final vocal gasps to "You're Gonna Pay." John Petric, the Other Paper (Columbus, OH), June 2004 Smother.net Packaged within black crepe paper and tied together with a nice little bow and lyrics from one of their songs, I imagined that The Patsys would be dubious goth rock. Instead I’m greeted with organ playing reminiscent of The Doors and garage rock thunder that shows that they deserve the “The” in front of their name—see The Hives, The Vines, The Strokes, The White Stripes, etc. ad nauseam. The legendary Steve Albini, who as usual convinces us that he knows more about making good music than anyone else, engineered the second track on this single “Gone”. Regardless the accolades are somewhat deserving despite a slight level of predictability. J. Sin, smother.net, May 2004 Indigo Flow With their third single The Patsys are clearly going for a more aloof method of promotion than with their previously releases. Either that or they are in love with me. I haven't decided yet. Either way, this double A-side single arrived with no press release, just a CD, carefully wrapped in black tissue paper with a black ribbon and a black card tag with a message that reads, "I've loved you so long sometimes it's all I can remember… The Patsys." Seeing as that message is actually the first line of Beneath You, I'm guessing that it's not a declaration directed specifically at me (especially as the rest of the lyrics certainly don't relate to me - I'm pretty certain no member of this band has ever seen me in a little black dress). Anyway, I've gone on about this for far too long now; time to talk about the music… Beneath You and Gone, as with the previous two singles, display two further aspects to The Patsys' song writing skills. Beneath You shows off their harsher, more discordant side, though it still remains poppy and has a nice bit of organ over the top, much like The (International) Noise Conspiracy. Gone, which was engineered by Steve Albini, is slower with more influences from the worlds of country and blues and opens. My message back to The Patsys is: Enough now! I'm very flattered but I really think it's time to move to the next stage. Send me an album. Andy Malt, Indigo Flow, May 2004 X2rr The title track of this three song cd reminds of early Monomen with the circular chord changes, and guitar savagery. Female vocals distinguish this from other stuff along the same lines. The second song sounds a little bit more brooding, with Crampsy guitar rhythms, or slightly like thee Milkshakes stuff, if more in spirit than anything else. The third song, Wrecked, sounds a little bit like it could come off the Back from the Grave compilation. If you like the Gore Gore Girls, then chances are you‘ll probably dig this band. Nuff said. Mark Giddens, X2rr, May 2004 BettaWreckonize If the most recent rock and roll revival is on the outs, no one told the Patsys. With the release of two far-too-brief EPs, this Ohio foursome is proving that tried and true rock and roll still holds a spade or two in today’s underground music scene. The Albini-engineered “Never Kill A Boy On The First Date” channels Mamas and The Papas pop sensibilities by-way-of The Animals’ throaty rock ruckus. And when bassist Tutti Jaskson sings, “If I had a dollar I’d buy this town/And spend every nickel just to burn it down,” during “Invisible Girl” she makes it abundantly clear that she’s not the kind of girl that you want on the other side of that broken bottle during a roadhouse melee. For You’re Gonna Pay!, Jackson installs steel toes in Nancy Sinatra’s knee-high boots, and takes the vocal reigns of this well oiled machine for two of the three tracks here. The boys in the band have got her back; guitarists Stewart Nicol and John Stickley stomp out heavy-fisted rock rhythms with the help of mod-influenced rocker Jeff Regensburger behind the skins. During the bridge and final moments of “You’re Gonna Pay!” the lead guitarist lets his fingers do the walking, which results in just the right amount of steam on the windows. John Stickley is back to wrapping his fist around the microphone by this effort’s closer, “Wrecked.” Stickley’s propulsive baritone oversees the sweaty proceedings, which are likely to have hipsters and rockers alike tightening their grips on brass knuckles, tattoo guns, or the steering wheel. The Patsys are the kind of band that makes you want to drive a little faster, turn the stereo a little louder, and dance a little harder, which is a-ok in my book. Tim Anderl, BettaWreckonize, March 2004 the Other Paper A decent crowd stuck around until 1:30 a.m. for The Patsys. Having a female singer was the most obvious individualistic trait, and the most superficial; more importantly, beneath what seemed like standard rock fare was a subtle angularity. They too covered "Teenage Kicks," and their version was better - and not because it featured a gal screaming how she wants to hold some other gal tight through the night, though there's nothing wrong with that. Brian O'Neil, the Other Paper (Columbus, OH), December 2003 Roctober This sounds like 70s Kiss doing lost Beatles covers from hazy memory. Jake Austen, Roctober #37, Winter 2003 Splendid Hey, remember that garage rock revival thing? What ever happened with that? One minute it was huge, old-school denim jackets were the new black and shampoo was hopelessly passé. Mere months later it seemed as if the whole thing never happened, like a Fox network dramatic series or George W. Bush's anti-corporate-greed stance. Go figure. The Patsys should've been discovered during garage rock's few glorious weeks in the sun, but as usual, good taste was looking the other direction, enamored with a quartet of skinny Swedes or the latest batch of hygienically-challenged assholes from Williamsburg. It's a damn shame, because The Patsys are the real deal -- raw, angry, soulful rock 'n' roll with just enough polish to make it socially acceptable. This is the sort of stuff you'd expect to hear in a bar where all of the pool cues are held together with duct tape and the bar staff learned long ago not to serve anything in a real glass. In "Never Kill A Boy On The First Date", guitarist John Stickley adds his gruff vocals to a bluesy guitar rave-up, supported by sweet 'n' noisy female backing and regular bursts of "Hey Hey Hey!" This even-handed effort was recorded by Steve Albini, who's probably better known for unleashing chaos than constraining it; his efforts here add polish without blunting the song's impact. By not permitting "Never Kill A Boy" to descend into a shambolic rock-out, he reminds us that there's a big difference between spontaneity and not being able to work your amp. If anything, "Invisible Girl" is even better. Here, vocalist/bassist Tutti Jackson sounds like the sort of wrong-side-of-the-tracks barroom siren who'd sashay up to you, give you a sloppy, tobacco-and-alcohol-scented kiss, gulp down your drink, then steal your wallet and car keys and stab you in the ribs. Driving riffs, Farfisa accents and plenty of raw-throated yelping finish the picture. When it's over, you won't be sure whether you want a smoke or a shower. Patsys, you have my attention. I expect a full album from you by the end of 2004, and I want it to be this good. George Zahora, Splendid E-zine, (Downers Grove, IL), December 17, 2003 Indigo Flow Never Kill A Boy On The First Date is The Patsys' second single, the follow up to You're Gonna Pay. This single is a marked improvement on the last. Not that I didn't like it, I just felt that there were a lot of bands doing a similar type of thing better. Engineering by Steve Albini has given this a very raw edge. Their sound is quite British and reminds me of The Senseless Things and The Undertones, which can be no bad thing. The Patsys have definitely moved up from wannabes to contenders. Andy Malt, Indigo Flow, Issue 39, October 2003 Done Waiting I dig The Patsys. Not only do they play cool music but they also have great ideas – releasing CD singles at an extremely affordable price with great, yet minimal, artwork is a golden idea that more local bands should follow. While I still know quite a few people who own record players, the idea of releasing vinyl singles just doesn’t make any sense to me considering how many people own and use CD players. I’m sure it’s much cheaper to record a few songs and toss them on a CD-R than to pay to have vinyl pressed and record sleeves printed. It’s no secret that the members of The Patsys aren’t the young pups that they once were but with age comes experience and, surprisingly, The Patsys create a really fresh and exciting sound that undoubtedly is based on each individual members years of playing in bands, sitting behind record store desks, drinking beer. I hate to pigeonhole The Patsys as a garage-rock band and yet their sound fits nicely into that niche. It’s raw, but not unlistenable; it has punk undertones, and yet is well contained and bundled neatly into a pop-song format (mind you, an abrasive, lo-fi pop-song format). The way the band uses the back-and-forth, male-female vocals is perfect, neither John Stickley nor Tutti Jackson hog the spotlight but rather provide a good compliment to each other. Guitarist Stewart Nicol, the “newcomer” to the Columbus scene, provides the surf-movie-meets-spy-novel guitar licks and longtime scooter rider Jeff Regensburger pounds the drums like he’s trying to beat the demons out of his kit. Here’s the rub … I don’t know what the future plans are for The Patsys. I don’t know if they plan on releasing a full length of original material or just packaging all their singles up and releasing that as a full length. Maybe they’ll just continue to put out singles on a regular basis. Thing is, I’ll buy every single (two to three songs per) that comes out so that in the long run collecting 12 songs (the equivalent of a long playing CD) will probably cost me more than if I were to buy a new full length by the White Stripes. And, frankly, I won’t care, it’s that good. Chip Midnight, donewaiting.com, (Columbus, OH) October 12, 2003 Splendid The Patsys are – wait for it – a garage band. That’s right, another one. Ohio cranks them out like Fords. So why should you care? For one thing, this is pleasingly authentic sixties-style stuff – walking bass lines, bluesy riffs and angry lyrics with plenty of sneering; the only thing missing is a layer of syrupy Farfisa/Hammond drone, and you’ll barely notice its not there. Tutti Jackson (I’m guessing she’s a she) attacks her vocals with a Runaways/Riot Grrl ferocity. After hearing her rip into "You’re Gonna Pay!" and "Wrong End of Summer", I wouldn’t want to mess with her; she might even be able to give the BellRays Lisa Kekaula (the platinum standard for badass femal rock vocalists) a run for her money. John Stickley brings additional authenticity to "Wrecked" – you’ll picture his face locked in an Eric Burdonesque leer as he sings. Wrap the whole package up in artwork reminiscent of a gritty sixties UK gangster film and you’ve got an EP that delivers its goods – prime merchandise – in under ten minutes. This is what garage rock is all about – rough, ready, short and sharp. If you don’t hunt down a copy of You’re Gonna Pay, you’re the patsy, mate. George Zahora, Splendid E-zine, (Downers Grove, IL) June 12, 2003 Roctober Garage bar rock that would go well with too many beers and a tasteful brawl. Ohio bred, but very reminiscent of some of the best most aggressive Chicago stuff from the 60’s label Dunwich. Raw and rocking but not super dumb, yet dumb enough to get this trash stuff right. Jake Austen, Roctober #36, Summer 2003 Cornzine The Patsys know how to bring the lo-fi rock and roll thunder. Three songs, three chords, occasional solos, and catchy lyrics make this band stick in my head really easily. I’m excited to see what else they’ve got coming out. Rating: 2.5 stars Dana White, Cornzine, Summer 2003 Indigo Flow The Patsys sound like The Kinks with more of an edge. This is what The Kinks might have sounded like if they channeled their energy more into their music and less into beating the shit out of each other. There’s not a lot to say about them other than that. They aren’t bad, they aren’t amazing, they’re not unlike a lot of other bands out there at the moment. So they failed to make any real lasting impression on me but I don’t want this review to be negative because they do have a charm and one that I’m sure will appeal to someone other than myself. Rating: +++ Andy Malt, Indigo Flow IF E-zine, (UK) Issue 36 July 2003 Ball Buster There’s about eight minutes worth of music on this release and it comes off like 70’s garage pop rock. It’s got a raw sound and a lot of energy. It’s not a bad release. But, there’s really nothing more that can be said about it. It’s got a black ‘n’ white CD cover. So, you really can’t say anything more about that either. I guess this is a good example of a band that’s gonna let the music do the talking because that’s really all there is. You pop this one into your CD player and you either love it or hate it. I don’t think there’s any in between when it comes to The Patsys. Paul Autry, Ball Buster Reviews, May/June 2003 The Communicator The evening started with a sense of hatred in the air and drama to go along with it. A few fights were averted, but that didn’t stop the angry glares exchanged from across the bar. Eventually, the situation was soothed and everybody had a good time. That is, everybody had a good time until the opening band started to play. The Patsys, hailing from Columbus, Ohio, proved that a great fashion sense makes up for lack of originality. I realized my expectations must have been too high after seeing most of the band dressed like Elvis Costello. They belted out pop rock tunes in the vein of Letters to Cleo. Their catchy guitar riffs made up for the inadequate male-female vocals. The highlight of their set was the last song, "You’re Gonna Pay," a humorous rock ballad written for female vocalist Tutti Jackson’s husband. Overall, they were entertaining, but I was glad I didn’t pay to get in. Michelle Morris, the Communicator (Ft Wayne, IN), January 22, 2003 Newcity Openers the Patsys contain original Gaunt drummer Jeff Regensburger and Action Family bassist Tutti Jackson. They approach pop with a hip swinging but rough aggressive edge that's more Kinks and Joan Jett with bloody knuckles and a bottle of whiskey than the frenzied punk associated with previous projects. Tony Barnett, newcity (Chicago), January 16, 2003 IndianapolisMusic.net After the room was warmed up by the DJs, the Patsys from Columbus, Ohio took the stage with their Garage-influenced sound. After listening to some of their songs from their Web site I was excited to see this band live. Some of the members had played with artists such as Liz Phair and Matt Reber (The New Bomb Turks), so I figured the musicianship would be of a high caliber. Perhaps it was an off night for The Patsys because they didn’t seem to have the intensity or energy of their recorded material, and their drummer was having a hard time keeping a steady tempo on some tunes. They did, however, keep their song structures tastefully simple and did not over play. Their guitar and vocal work stood out from everything else, and I’d like to see them again—perhaps on a better night. Indytone, IndianapolisMusic.net, December 12, 2002 If you or someone you know has compared the Patsys to the Kinks please let us know. Forward all correspondence to the Patsys and Thank You (You're far too kind).

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