чудеснейшая mod revival команда. саунд на альбоме очень хороший.
инфа про группу:
punkmodpop.free.fr писал(а):From the tough small towns of Wishaw and Shotts that encircle Glasgow, THE JOLT were formed in 1976. Put together by a young local newspaper journalist, drummer Iain SHEDDEN, and two University drop-outs, singer/guitarist Robert COLLINS and bassist Jim DOAK, The JOLT started to rehearse as a four-piece in September 1976, playing hard '60q-style rhythm andblues. The ever-changing musical landscape helped the development of their own songwriting - and as they started to move away from cover versions, The JOLT began to define a sound of their own.
Making their debut as a three-piece at the Burns' Howff in Glasgow in March 1977, The JOLT built up a strong local following and a great deal of notoriety in the local press-after all, it was the time of punk and like all of their contempories, they found that the mere mention of the word "punk" could lead to the cancellation of gigs and inflammatory local press headlines. An advert for one of their gigs in the 'Evening Times' in April 1977 summed up the attitude of the day. "Punks. they stopped The pistols! See them tomorrow at the Burns Howff, Glasgow."
Described locally as Scotland's number one punk rock band (they had only heard of one other at the time), The JOLT found themselves fired up by the nthusiasm for young live music that punk reated.
By the summer of 1977 punk had exploted as a national phenomenon and to ensure that they gave themselves every chance of cutting it with the big boys of punk's inner circle. The JOLT relocated to London. A couple of months on their debut gig in Glasgow, the national music press were already reporting that the band would be siging a major record deal with Polydor. The JOLT were caught up in the stampede to sign up the second wave of punk bands and the NME pointed out that next to put pen to paper would be Slaughter and The Dogs, XTC, the New Hearts and The Cortinas.
The JOLT were on their way. Signing a £90,000 four-year contract with Polydor, they threw themselves into the London club scene, playing at the Marquee and the Nashville Rooms in supoort of bands like Generation X, The Jam, X Ray Spex. Polydor rushed out the band's first single "All I Can Do" in September 1977, but by early 1978 New Wave was preparing to turn in a different direction - one which The JOLT, with their strong '60s r'n'b influences were tailor made for.
While punk might have driven them forward, The JOLT seemed to fit perfectly into the modern world. Even through the height of new wave, reviews had constantly pointed to Collins' r'n'b style guitar and the musical debt the band owed to the mod sounds of The Who, The Kinks, and The stones. They were already supporting The Jam quite regulary, and their next single, a spirited cover of The small faces classic "What' cha Gonna Do about It", saw The JOLT establishing themselves as one of the first bands of the new mod. Always outsiders in the elite London punk scene, even their image had changed to reflect their influences - the cover of the single showed them for the first time wearing the '60s style suits that would remain their trademark.
To promote the single, The JOLT set off on a nationwide tour supporting The motors, but critical reaction to the record was mixed. The NME was largely favourable, while Sounds sat on the fence.
Capitalising on the exposure from the tour, another single - "I Can't wait" was issued, this time to a positive reaction. The critical acclaim continued with the release, in July, of their self-titled debut album. With a Radio one 'In Concert' broadcast under their belts and a favourably received debut album, chart sucess should have been just around the corner, but The Jam comparisons that had dogged the band for quite some time meant that they were consistenly viewed in the light of whatever Paul Weller was doing at the time. The JOLT even went as far as penning a letter to Record Mirror. "Having (we thought) survived the Jam comparisons", they wrote, "we would like to say we do not rip off the Jam. But if you just glanced at us, it might appear that way".
Maybe to avoid the constant comparisons, The JOLT became a four-piece, with the addition of Glaswegian guitarist/vocalist Kevin Key. They played their first gig with this line-up at the Marquee on September 30, supported by The Purple Hearts, and while Key added another dimension to the band, it seemed that maybe they had missed the boat.
One last seven-inch release was to come in June 1979, the "Maybe Tonight EP. Featuring a then unreleased ("See Saw") courtesy of old friend Paul Wller, this helped cement their part in The Jam story, but it didn't do much for their attempts to step out of the shadow of their more successful label-mates; Well before the release of the EP, drummer Iain Shedden was already guesting for fellow mods the Small Hours. This became his permanent gig and The JOLT disintegrated before they really had a chance to capitalise on the mod revival that they'd played a part in developing.
