Short Cuts

Several iconic, pop-rockin’, punk-adjacent artists from the late 1970s and early 1980s new-wave era have new albums out now — and there are also a number of encouraging audiophile-oriented reissues as well. For this somewhat thematic Short Cuts installment, we’re going to zero in on a mixture of both by exploring a pair of fun new releases from The Vapors and Peter Holsapple, plus an AAA reissue of a Violent Femmes album I suspect many of us overlooked at the time of its original 1984 release.

THE VAPORS
WASP IN A JAR
1LP (Red Chuck Records)
MUSIC: 9
SOUND: 8

I know that many so-called “one hit wonder” bands and artists are typically deserving of much more notoriety than what’s implied by that dubious, double-edged-sword designation. So, as a fan of British new-wavers The Vapors (seen in action at the very top of this review), I eagerly listened with open ears and open mind to their self-produced and recently released fourth album, February 2025’s Wasp in a Jar. And you know what? It’s really very good. Great, even!

For those with short or fading memories, or simply those of you who may not have even heard of The Vapors until now, here’s a quick C.V. The Vapors catapulted to international attention when their 1980 single “Turning Japanese” became a smash hit, reaching No. 36 in the U.S. and No. 3 in the UK. Despite six singles and two full albums — and I still have both of them, in fact! (Footnote 1) — in addition to much touring in the U.S., UK, and Australia, The Vapors sadly broke up in 1981. They reconvened 35 years later in 2016, and after acclaimed shows in Ireland and England, The Vapors kept on touring, having performed 160-plus gigs (and counting) since! That all initially led to a May 2020 comeback album, Together (Manmade Soul Ltd VAPLP003), and several singles — and now, Wasp in a Jar keeps the momentum going.

Wasp in a Jar is a great, hard-rocking, power-popping spin. The black vinyl pressing is dark, quiet, and well-centered, so I had no problems there. It was probably a digital recording (we are awaiting confirmation either way from the label), but don’t let that stop you. I can attest that, having given this LP the high-volume/windows-open treatment test, it sounds pretty great loud without falling apart.

Some other stats now. Wasp in a Jar was recorded and produced at Red Chuck Studio in Mechanicsburg, Pennsylvania, by Michael Giblin. Giblin seems to have some good power-pop royal blood in him, most recently as bassist/vocalist of the late, great Blondie drummer Clem Burke’s superstar band The Split Squad. Wasp in a Jar was mastered by Greg Reierson at Rare Form Mastering in Minneapolis, Minnesota.

Back to the music. I was digging Side A just fine, but it all came together for me when I flipped the album over and heard the inspiring and catchy back-to-back anthems “Nonstop Radio” (Side B, Track 1) and “Nothing Can Stop Us Now” (Side B, Track 2). The whole side is a pumper, through the XTC-meets-Shocking-Blue-esque “The Words” (Side B, Track 3) and ending on the quite upbeat “It Gets Better” (Side B, Track 6).

Ratings-wise, I’m happy to give The Vapors’ Wasp in a Jar a hearty 9 for Music, and solid 8 for Sound. If you want to get your hands on this LP right now, however, that’s the tricky part. While it’s currently sold out on the band’s official site (with an original SRP of circa $30), there are copies of it out there at select indie stores and elsewhere, so do your diligent digging accordingly, because it’s worth getting and spinning. That said, if you want to hear Wasp in a Jar immediately, The Vapors do offer CDs and digital downloads here, in their official shop.

Side A
1. Hit The Ground Running
2. The Human Race
3. Forever & Ever
4. Miss You Girl
5. Decompression
6. Carry On

Side B
1. Nonstop Radio
2. Nothing Can Stop Us Now
3. The Words
4.Look Away Now
5. Idiot Creature
It Gets Better

VIOLENT FEMMES
HALLOWED GROUND
180g 1LP (Craft Recordings)
MUSIC: 8
SOUND: 8.5

As much as I loved the Violent Femmes’ eponymously titled April 1983 debut album on Slash and many of their later recordings — especially 1986’s The Blind Leading The Naked on Slash, and April 1991’s Why Do Birds Sing? on Reprise — somehow I missed out on their sophomore Slash LP, May 1984’s Hallowed Ground.

I don’t feel quite so bad about that anymore, however, because, as even their reissue label Craft Recordings points out in the press materials, Hallowed Ground was “once an overlooked gem.” Clearly, I wasn’t the only one who was probably so happy enjoying the Femmes’ seminal debut LP that this second album essentially came and went in a flash.

Fortunately, Hallowed Ground, an album now considered a pioneering work in the post-punk and alt-country genres, is here again for us to enjoy. This new Craft edition was mastered from the original stereo tapes in an all-analog process, which makes it ripe for AAA reconsideration.

Per the above-noted press materials, Hallowed Ground “has become a cornerstone of Violent Femmes’ catalog and live performances.” I can confirm that my familiarity with some of its songs came from listening to radio broadcasts and the live recordings of “Country Death Song” that appeared as part of the 3LP box set celebrating the eponymously titled debut LP’s 40th anniversary, which I reviewed here on AP on February 16, 2024.

“Country Death Song,” that incredible murder ballad I just mentioned above, opens Hallowed Ground on a bleak but somehow oddly inspiring note that keeps your attention. No doubt a bit more on the dark edges of backwoods porch, country, and gospel, Hallowed Ground was a brave second release in many ways, and it even stirred some apparent controversy in the band at the time related to some of vocalist/guitarist Gordon Gano’s Christian-oriented lyrical content.

Challenges not withstanding, this is a fascinating release worthy of revisiting. All throughout Hallowed Ground, soon-to-be-legendary TV and videogame producer Mark Van Hecke (Absolute Entertainment, The Simpsons) and Violent Femmes combined to push their sound forward with somewhat richer instrumentation — piano! organ! celeste! — and they even include downtown-New York modern-music icon John Zorn on alto sax and “game calls” on “Black Girls” (Side Two, Track 3).

I’m very pleased with the sound on my 180g Hallowed Ground black vinyl reissue. The pressing is quiet and well-centered, letting the music easily lift off through your speakers. This Violent Femmes LP garners an 8 for my Music rating, and 8.5 for the Sound. The new AAA Hallowed Ground LP sports an SRP of $25.99 at Music Direct, and you can obtain it now via the MD link graphic below, which appears after the tracklisting.

For those of you interested in this sort of thing, there are also a number of color vinyl variants of Hallowed Ground out there on the interwebs, as well as at Craft’s official store here, and in select indie shops — and you can see a variety of those options directly below.

Side One
1. Country Death Song
2. I Hear The Rain
3. Never Tell
4. Jesus Walking On The Water
5. I Know It’s True But I’m Sorry To Say

Side Two
1. Hallowed Ground
2. Sweet Misery Blues
3. Black Girls
4. It’s Gonna Rain

PETER HOLSAPPLE
THE FACE OF 68
1LP (Label 51)
MUSIC: 9
SOUND: 8.5

At this stage his career, Peter Holsapple, co-founder of legendary indie rock/new wave band The dB’s (Footnote 2), and member of the acclaimed Continental Drifters collective — the latter being an indie supergroup including Mark Walton (The Dream Syndicate), Vicki Peterson (Bangles), and Susan Cowsill (The Cowsills) — has nothing to prove to anyone. Heck, anyone who has toured extensively supporting both R.E.M and Hootie & The Blowfish onstage (the latter for 26 years!) deserves only our respect. After all, Holsapple has always been an artist who has appeared to stay true to his heart and gut instincts for making great music.

Following a wonderful, recent reunion tour with The dB’s, Holsapple surprised many of us with news of a brand-new solo album titled The Face of 68, which was released by Label 51 on April 12, 2025, for Record Store Day as an RSD First release capped at 1,000 copies. (More on that in a bit.) And I can readily attest that The Face of 68 is a gem. Free from the constraints of any particular band sound where he would have to share the spotlight (and the tracklists!), The Face of 68 is pure Holsapple in all its well-informed, hard-rawkin’, melody-fueled, new-wave glory.

As for the stats, The Face of 68 was mastered by Jeff Powell at Takeout Vinyl in Memphis, and this pressing sounds really nice. The coke-bottle clear, greenish vinyl is actually is pretty quiet, well-centered and, ultimately, musically transparent. Happily, I have no problems there.

You gotta love someone who can incorporate a bit of insider musical humor into The Face of 68 press announcement, referencing hard-rockin’ proto-metal psychedelic blues-electric pioneers Cream in the same breath as early ’60s folk trio The Limelighters when describing how this new album was recorded. Indeed, “the popular trio form” behind this album is Robert Sledge (Ben Folds Five) on bass and Rob Ladd (The Connells) on drums, in addition to Holsapple on lead guitar and vocals. Produced by Don Dixon (R.E.M., The Smithereens) and engineered by Jason Richmond (Margaret Glaspy) in 3½ days, The Face of 68 has a poppin’ fresh sensibility that is immensely welcome in these often musically congested times we are living through.

The Face of 68 is full of insight and introspection. Some of my favorites thus far include “Larger Than Life” (Side A, Track 3) and the wryly humorous “My Idea #49” (Side A, Track 4). I especially love the Stonesy rocker “That Kind of Guy” (Side B, Track 1), where Holsapple lets loose a luscious music history lesson, a litany of influences from Bix Beiderbecke to Young MC. If you are familiar with the references, this song will make you grin wider than Brian Wilson’s SMiLE. My favorite line so far: “I got The Idle Race on the BBC, baby!” (Footnote 3) I also love how Holsapple lyrically underscores the phrase “Repeat When Necessary,” which is also the title to an important LP by an important rock artist and producer who emerged in the late ’60s, and had hits well into the 1980s. (IYKYK — but if not, look said artist up ASAP!)

Actually, come to think of it, if “That Kind of Guy” was sped up just a little bit, I could totally hear R.E.M. covering it, if they ever made a comeback. So, yeah, Peter Holsapple’s The Face of 68 is that good — and more. It is one of those fast-grower albums that reveal more riches with each listen. Definitely check it out!

As far as numeric ratings go, I would give The Face of 68 a 9 for Music, and a very solid 8.5 for Sound. This is a fine, modern-rockin’, well-produced collection of great, guitar-driven songs by one of indie-rock’s legendary figures. It’s one of those records that sounds even better when you turn it up loudly. It may not be the most dynamic of productions, but when you pump up the volume, The Face of 68 simply feels good, delivering sonic food for the heart, soul, and mind.

One final note: The vinyl edition of The Face of 68 I reviewed here was that aforementioned special RSD release (OBI shown below), so you’ll need to check with your favorite indie shops to see if they still have copies available (and hopefully circa an SRP of $34.99). They’re definitely out there, so the hunt will be worth it!

Side A
1. Anytime Soon
2. The Face Of 68
3. Larger Than Life
4. My Idea #49
5. High High Horse

Side B
1. That Kind Of Guy
2. One For The Book
3. Fireflies
4. See About You
5. So Sad About Sam
6. She And Me

Author bio: Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for AudiophileReview.com, among others, and you can see more of his impressive C.V. at LinkedIn.

Footnote 3: AP editor Mike Mettler adds: That’s one of my favorite lines in “That Kind of Guy” too — so much so, in fact, that I decided to interview Holsapple (shown below) about the making of The Face of 68 and his mutual love of vinyl, among other record-geek kind of things — like me, he really is that kind of guy, but in a good way — and our interview will be posting here on AP in the not-too-distant future.