Feb. 22, 1979 review: The Fabulous Poodles at After Dark

 

Offbeat, but not entirely forgotten.

Feb. 22, 1979 review

British Rockers Delight in the ‘60s

          “All I can say is there’s not many of you out there, so you better enjoy it,” says Tony de Meur as the Fabulous Poodles start their set Wednesday night in Lockport’s After Dark. “This first song is about throwing yourself off a bridge in North London.”

          Doubtless the cold, corrupted waters of the Thames would look good after this American tour. A week ago, all their instruments and stage clothes were stolen in Boston. Tuesday in Cleveland, de Meur was conked on the head with a beer bottle. Here they’ve drawn a paltry turnout of about 200.

          Despite these setbacks, the Fab Poos remain undaunted in their mission to bring ‘60s-style fun back to a world beset by punk-rock and disco. Just as the Blues Brothers are foster children of early rhythm and blues, the Poodles are sons of the British Invasion – particularly the Kinks and the Who.

          Their songs lay down the beat with a wink and a grin. Among their best is the goldbricking “Work Shy,” which is classic Kinks, with de Meur in his green, plastic-rimmed glasses echoing Ray Davies’ amused archness.

          The London-based quartet looks pretty much like a ‘60s club band as well, what with their short hair, sports jackets and rubber-kneed dancing. The exception is suave, white-coated violinist and mandolinist Bobby Valentino, whose slicked-back hair and carefully manicured moustache suggest old matinee idols. He plays as elegantly as he dresses.

          In their hour, the Poodles run through every number on their American debut album, “Mirror Star,” except for “Toytown People.” Response is reticent until they reach the album’s title tune and their remake of the marijuana anthem, “Roll Your Own.”

          They wrap it up by taking requests. De Meur does “Gloria,” an off-tune rendition of the Kinks’ “You Really Got Me” and a raunched-up “Puppy Love,” keeping spirits up right through the encore. The Poodles manage to turn adversity into delight.

          Turning delight into adversity was opener Sapho, a French woman foreign-exchange punk-rock singer in front of a New York-based quartet with two guitars. The drummer used to be bass player with the band Television.

          More lurid than Plastic Bertrand, less literary than Patti Smith, Sappho’s biggest dramatic devices were the fox head on her fur neckpiece, her quavering, high-pitched shriek and her long hair, which she whiplashed around her head as she sang in French and English. Psycho singer, qu’est que c’est?

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IN THE PHOTO: The Fabulous Poodles. Tony de Meur is the guy with the glasses.

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FOOTNOTE: The Fabulous Poodles broke up in 1980 and released only three albums, the first of which was produced by bassist John Entwistle from the Who.

Tony de Meur, known these days as Ronnie Golden, has gone on to work as a comedian, front an R&B group and write sketches for BBC Radio 4.

As for Bobby Valentino, he's kicked around with a bunch of British country artists, played with Tom Petty and Mark Knopfler and shows up in films and commercials whenever they need a Clark Gable lookalike.

Sapho, real name Danielle Ebguy, returned to France and has had a long career as a singer and a novelist. A native of Morocco, she's found success tapping into Spanish and Middle Eastern sounds.