A Sizzling Live Album From New England Rock Legends the Reducers
The Reducers were the American counterpart to the Jam – except that they lasted six times as long. And while the British punk band drew on the Who and 60s mod music, New London, Connecticut’s greatest musical export took inspiration from 70s pub rock acts like Ducks Deluxe and janglerockers the Flamin’ Groovies as well as the harder, faster sounds of the era. The quartet finally hung it up in 2012 after the tragic loss of their brilliant bassist, Steve Kaika. But there’s a lot of live Reducers kicking around, including a ferocious set, Live: New York City 2005, which is just out and streaming at Bandcamp.
Playing at a typical breakneck pace, the group blast through sixteen songs in forty-seven minutes, a mix of concert favorites, a couple of new tunes and a few covers. The sound quality, from Arlene’s on June 4 of that year, is shockingly good (founding member/guitarist Hugh Birdsall has gone on record as calling this arguably the best live recording of the band that’s widely available). They open with a cover, something they rarely did: in this case, it’s a straight-up punk take of the Boys’ Turning Grey, which is less about getting old than watching everyone around you get old inside.
“I hear that black and blue is the color scheme in town,” guitarist Peter Detmold sneers in one of the band’s catchiest songs, Nothing Cool About That, a spot-on evocation of dead-end life in New England rust belt decay.
Fistfight at the Beach, arguably the band’s best song, takes that anomie to the next level, from Birdsall and Detmold’s simmering twin-guitar intro, Kaika soaring skyward until drummer Tom Trombley kicks in hard. The riffs get more bludgeoning and Birdsall takes a tantalizingly brief, stinging solo in the similarly cynical workingman’s anthem Jackpot Fever.
The band slow down just a little for the more powerpop-oriented Meltdown – with a sweet pickslide at the end – and then their band-on-the-road saga San Antone (which they actually played in San Antonio). They follow that with an especially snarling take of the alienation anthem Out of Step, arguably the band’s biggest hit – and a chance for Kaika, who gave this band the luxury of a third lead player, a chance to slink his way up the fretboard.
The first of the new numbers is Tokyo Bay, referencing the band’s well-received tour of Japan a few months earlier. The band swing hard through I Call That Living, the closest thing to boogie rock they ever did, capped off by a slashing Birdsall solo. On the Road Again is not the Wilie Nelson hit but a punchy, relatively new original.
Let’s Go, another big live hit and the title track to the band’s second album, seems almost restrained, Kaika shadowing Birdsall’s best solo of the night all the way through. The Violent Femmes-ish bassline in Avoidance Factor will make you smile – although who came up with that first? And Bums I Used to Know is the high-octane rockabilly shuffle the Stray Cats only dreamed of pulling off.
The rest of the night’s covers are a mixed bag. Teengenerate’s I Don’t Mind is a pub rock New York Dolls knockoff, although the bit of a guitar duel is tasty. The Stones’ Get Off My Cloud…really? And the lone encore, Chris Spedding’s Hurt by Love isn’t much more than a vehicle for Kaika’s spring-loaded riffage. Still, who knew that in 2021, a soundboard recording by a Connecticut band who’ve been defunct for almost a decade would turn out to be one of the best albums of the year.