





THRILLS
aka CITY THRILLS
by Joe Harvard
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The band was later renamed City Thrills due to a copyright issue, and by the start of the 80's they'd become much less hard-edged, moving to a more pop sound. Perhaps it was due to getting a taste of local airplay, and a desire for more of the same that motivated their increased focus on "serious" songwriting. Or, like many bands of the period, they may just have been growing up and becoming better players capable of more sophisticated arrangements. Their relationship with Star Rhythm Records allowed them to be among the first crop of Beantown bands to release material on vinyl. Barb reminded me a bit of Chrissie Hynde. She was a tough cookie, a wild child at times, and she had no problem hanging with the boys at a time when there were very few women prominent in the scene. That may be why the women that were playing with those early underground bands , including Lorry Doll of the band Tracks and Pseudo Carol of the Rentals, were such a cut above. The band's popular song "Not Another Face in the Crowd" might have been Barb's own personal anthem, demanding "Hey! C'mon and look at me, baby, 'cuz I'm not another face in the crowd!" There was no doubt about it, either, Ms. Kitson was definitely not your average, faceless citizen. And as far as paying attention, there was also no doubt that most eyes in the club were on her as she led the band through their paces. One night I happened to be out with two friends, both guitar players, one of whom was a local hearthrob who seemed to be screwing every woman on the scene. It was funny to watch as he tried to lay his usual big-baby-eyed moves on Barb. She made it clear she was not going for that shit, but she was interested if he wanted to enjoy an hour or two of recreational...activity. He explained he wasn't alone, and she said "bring your friend up". He rang the doorbell of her Beacon Hill apartment again, and said "there are three of us". She laughed over the speaker. "Too weird...two I can handle, but not three!" She may have been kidding, of course, but it didn't sound like that. I had visions of Emergency Room treatment for exhaustion, and I had a feeling we were getting off easy. Barb was a take charge gal- she gave as good as she got, and you had to respect her for that.
![]() Seven hours of rock and roll, one of the Katman Elektric Productions events that featured the Thrills. It was held at the Mad Hatter, the disco that later became the Channel rock club.
Johnny Angel later fronted a few other classic Boston bands of his own. The Blackjacks were heart throbby hard rockin' daddies whose set list spawned a few local anthems: "Get Off the Junk Train" and "That's Why I Always Dress in Black", the latter a sort of post-punk update of the vibe behind the Johnny Cash theme song. Sorta. Not to be confused with the newer UK jump-blues band who recently copped their name, the Blackjacks formed in 1983 and through '84 Johnny covered lead vocals and guitars, Whitey on bass /vocals and Jeffrey Erna on drums. From 1984-86 they added Raphael Mabry, guitar, vocals, harmonica and glam-ham. Frankly, the best article on the 'Jacks is over at Dirty Water...the Thrills article over there is pretty excellent, too. They're so well written, in fact, that I suspect Johnny - now a writer doing feature stories for magazines -may have done both of them himself. Angel's other band was the in-joke Swingin' Erudites. The band rose out of the ashes as the Blackjacks were shitting the bed for good, propelled surprisingly forward by their take-off's of popular covers that deserved puncturing. Many of these, such as "Walk With An Erection" and "Living On My Hair" were recorded at my own former, beloved Fort Apache, with Sean Slade and Paul Kolderie handling engineering/production on those {although the initial "Walk..." version that launched a thousand phone calls was recorded " for 25 dollars on a basement 4-track". Again, props must be given: the Swingin' E's article at Dirty Water is definitive. The story of how they destroyed a thousand-patron gig at the Metro, emptying the room with butchered takes of "Girl From Ipanema" et al., is in itself worth the price of admission [which is nothing].
Swingin' Erudites ... Blackjacks... |