Now here’s a band with an interesting background: Staples of the late ’70s New York music scene, Quincy released an album on Columbia Records in 1980 that quickly vanished from view. An additional woe to contend with, producer Quincy Jones got wind of the band and legally ordered them to nix their name.
The band changed their handle to Lulu Temple and cut an EP in 1983 that has since been coveted by collectors far and wide. Two of the band’s members – brothers Brian and Stephen Butler – soon formed Smash Palace, which met with a great deal of success and still exists to this day.
Quincy recently reunited and recorded a mini-album of brand new material duly titled 35 Years On (Kool Kat Musik). Retaining the same sound and philosophy that initially created a bit of a stir, the band has birthed a highly enjoyable set of songs that rank as a sensible extension to the unfulfilled promise of their debut album.
Loaded to the core with seizing hooks, snappy guitar licks and kicking keyboard flourishes, 35 Years On brings the dual partnership of new wave and power pop into the present with earnest exuberance. Sharp lyrics, leaning towards the wry side of the coin, also strengthen the songs.
“Innocuous” boasts a rush of choppy chords lifted straight from the early Kinks catalog, rocking with flair, while the exquisitely executed “Get Well Card From the Devil” keys in as a humorous narrative. Costumed in jangling guitars and rippling melodies, the good-feeling vibe of “Liberty Bell” carries all the correct chemicals required to create a classic pop-rock song.
Through it all, Quincy comes off as a young and hungry band. The cool vocals, situated somewhere between the raspy pitch of Ian Hunter and the snarky sneer of Elvis Costello, are matched by instrumentation ruled by drive and density. Due to their energy and enthusiasm, you would never know these guys are elder statesmen.
Dipping into the past, 35 Years On further includes a pair of live tracks recorded in 1979 at New York’s fabled CBGB’s, where Quincy regularly played gigs. Bare-boned and brash, “Always In the News” and “Privileged Few” captures a punkier perspective of the band.
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