The Creeps - Enjoy The Creeps (Sweden 1986)

The Creeps - Enjoy The Creeps (Sweden 1986)

Formed: Älmhult, Sweden

Related Artists:
The Backdoor Men, The Hats

Members:
* Robert Jelinek (Lead Vocals, Guitar, Harmonica),
* Hans Ingemansson (Organ [Farfisa], Vocals),
* Anders Johansson (Bass, Vocals),
* Patrick Olsson (Drums [Tamburine], Percussion [Marraccas])

Credits:
Artwork : Jan Hesseldhal , Robert Jelinek
Photography: Jonnie Elovsson
Piano: Jonas Hellborg
Producer: Creeps, The , Lave Lindholm , Stry Terrarie

Related Artists: The Backdoor Men, The Hats

Genre: RockStyle: Garage Rock

Tracks:
A1. Down at the Nightclub
A2. Ain't No Square
A3. Come Back, Baby
A4. Rattlesnake Shake
A5. City of People
A6. Just What I Need
B1. The Creep
B2. Darling
B3. Hi, Hi, Pretty Girl
B4. Maintaining My Cool
B5. I'm a Rolling StoneB6. She's Gone

Review:
Ever since the release of the 1972 Nuggets: Original Artyfacts comp there have been bands like the Creeps, and most likely there always will be. The Swedish retro act aims squarely at mid-'60s garage rock, aping the bands that aped the Yardbirds, but thanks to inspired playing and inventive arrangements, they succeed in adding to the tradition rather than just running in place. Recorded with period-appropriate atmosphere (i.e. a thick, dirty echo), the Creeps bang out nine originals that channel the Animals and Them, delivered with power and precision. "Down at the Nightclub" leads off Enjoy the Creeps with a stiff swing and a booze-positive philosophy, then breaks down with a jazzy piano coda. Other highlights include the lascivious "Hi, Hi, Pretty Girl," the Farfisa-driven instrumental "Rattlesnake Shake," and the frantic drum rolls and fuzz solo on "Ain't No Square." A medley of Sonics covers ("Maintaining My Cool" and "I'm A Rolling Stone") is reverent and energetic, but won't change anyone's mind about the wild, rambunctious Northwest originals. In fact, the only thing missing on Enjoy the Creeps is a sense of true abandon, that apocalyptic spark that makes the most primitive, boneheaded garage bands like the Count Five or the Seeds so eternal. The Creeps are musicians, not punks, and while there's no lack of get-down vitality to their sound, they won't take the listener anywhere except the dancefloor. However, their pugnacious take of the obscure, middle-finger anthem "City of People" seethes with defiance ("Baby don't you mess with me/Cuz you know you could never bring me down/Hey Hey Hey!"), equaling the sneer of the original 1966 Illusions single, and nearly matching Fireworks' vicious 1995 rewrite as "City of Assholes." Garage rock revivalists will find lots to move to on Enjoy the Creeps, but the band didn't stay tied down to their nostalgic muse for long. The Creeps modified their sound in later years, taking on more modern elements with soul/funk textures that earned them a Swedish Grammy, and a big hit in their homeland with "Ooh, I Like It" in 1990.
~ Fred Beldin, All Music Guide.
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When organist Hans Ingemansson relinquished songwriting and lead vocals to guitarist Robert Jelinek in the mid-'80s, picking up a new rhythm section in the bargain, Sweden's premier modern beat-psych combo offhandedly hanged names from the Backdoor Men to the Creeps and made a big splash in the small pond of garage punk devotees with the wickedly soulful and melodic 'EnjoyThe Creeps'. The album includes several covers and numerous copped riffs, all interpolated into a powerful attack blatantly imitative of the Lyres while concurrently possessed of more range and greater attention to mood mechanics.
Several years later, the follow-up jettisoned virtually all the dirt and raunch in favor of an early funk bias to match the heavy soul pump and attitude now permeating the music. Still a terrific songwriter and strong vocalist, Jelinek rallied his backdoor troops in a high energy romp through the underside of the pop and "black" charts circa mid-to-late-'60s, albeit with '80s urgency and production values. An interesting development, but 'Now Dig This!' isn't as good as the first LP, substituting style for rage, budget for exuberance.
'Blue Tomato', the quartet's first LP with an outside producer, only exacerbates the problem, offering up '80s dancefloor style to further modify the gutsy, gusty organ-pumped brew for mall-goers in designer tags. Quite possibly the best Stax-oriented club band operating today, the Creeps are still a great loss in terms of compromised potential.
~ Internet Source.

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