The Lost 45s UK Official Website

Music reviews

The Next Projected Sound of . . .

The Lost 45s are famous for being a band that supported The Who but this EP shows that The Lost 45s are much more than being just a support band. The release comes at a perfect time with a mod revival in the mainstream.

Grandfather mod, Ray Davies has released an album, The Who are on the telly and the mod revival sound heard in bands such as 'big in Japan' The Ordinary Boys and the Chelsea Dagger of The Fratellis shows that now is a good time to know how to tune a Vespa.

This 4 track EP is pure pop brilliance but its limited double 7 inch release from the bands website is wasted on people like me with no record player.

God Given is summers eating ice cream at the nice bit of the beach at Bridlington; Psychotic Rhythm and Blues with its, 'my brain is running wild again, I'm all mixed up inside again' lyric is a soundtrack for a serial killer, pure Helter Skelter.

Take Your Time has a chorus that won't leave your head and is a song that would easily fit in a pop chart of today; Ghost in the Noonday Sun has a more relaxed sexy feel, evoking the sound of the Style Council.

This EP is filled with harmonious melodies with the drive of pure Atlantic soul. A wall of sound production and CD release would make the whole thing bigger and would surely guarantee some radio play. This band should get out from the mod scene to an audience who don't have record players but recognise a good tune when they hear one.

Review written by Campbell McNeill
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EP review by Scootering magazine

The Next Projected Sound of…

Hot on the heels of their acclaimed debut album WHAT TIME DO YOU CALL THIS? released through BBP the Leeds based four piece are back. A double 7" vinyl pack consisting of four brand new cuts, which allows The 45s to show off their formidable range and talent. Disc 1 has God Given that arrives from a similar direction to The Style Council at their peak. The flip side is the descriptively titled Psychotic R&B, which sums up pretty much what you get. Second vinyl delight consists of the Stax soul inspired Take Your Time alongside the cool grooving Ghost In The Noonday Sun. Only available to purchase via the band, a limited edition release, so grab one while you can. www.thelost45suk.co.uk is the place to go, don't leave it fashionably late, or you may be unfashionably without a copy.

Review written Sargie

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EP review by www.newuntouchables.com

The Next Projected Sound of…

The latest offering from Leeds based The Lost 45s is a double pack 45 with picture sleeve. Recorded, packaged and put out on the bands own label iPurplesound! following on in the great tradition in this country for DIY rock n roll. All 4 faces of the band on these recordings with the garage flavoured PR&B a personal favourite with a large slice of influence from the Kim Fowley classic “Bubblegum". The second 45 sees the band more in touch with their pop side with GITNS and TYT. Available through the band on www.thelost45s etc etc.

Review written Rob Bailey

Printed from www.newuntouchables.com

EP review by www.modrevival.net

The Next Projected Sound of…

The Lost 45s album ‘What Time Do You Call This?’ was without a doubt one of the musical highlights of last year, and sits quite snugly in my Top 5 of 2006, so obviously when I got news of a new release I was chuffed. That it was going to be on vinyl… double chuffed. And then when it was going to be a double 7” pack… quadruple chuffed! But, and call me cynical, when you’ve been spoilt by such an outstanding debut album, the following release is bound to be a disappointment, right?

Well…. wrong.

Apart from what you hold in your hands is the tactile and beauteous media that God intended should carry music to our ears, The Next Projected Sound Of… is a perfect snapshot of exactly what The Lost 45s are all about. Four songs set across four sides of vinyl, the first of which is God Given. Gutsy and soulful, uplifting and brimming with melody it’s the perfect opener, a tune to melt even the coldest of hearts. It tips a wink towards the more soulful side of the 80’s mod scene, but with what is now most definitely the Lost 45s ‘sound’. Next up is the red hot garage groover Psychotic R&B, it’s wilder than a Tory with an expense account and twice as dirty. It’s almost tribal beat, insistent riff and rambling organ marks it out as a dancefloor killer, groovesome enough to compete with the classics. And I ain’t lying brudders and sizzlers.

As if that wasn’t a treat enough, up comes the second slab, and it’s top side is Take Your Time. And that’s something this tune doesn’t . Rips along at a great rate, this time influenced by the grittier groovy soul sounds of Chess and Stax, great backing vocals and the organ up front, this is more infectious than anything festering on Bernard Matthews’ farms, and you wont want to be cured! And just to prove that it’s not all about wrestling you feet first to the dance floor, up next is Ghost In The Noonday Sun. A piece of intelligently crafted 60’s tinged pop, swimming in atmosphere and almost sinister sounding, this is a well written and skilfully played melodic gem. Class, and seemingly effortlessly so.

Having followed the bands releases since the beginning, I’m left in no doubt that this is the record(s) they were destined to make. Classic tunes and vinyl, that’s what runs through the bands veins, pure and simple. It’s just good news for everyone else that they’re such willing donors. Anyone else for a transfusion?

Review written Mark G

Printed from www.modrevival.net

EP review by www.torpedopop.com

The Next Projected Sound of…

After last year’s debut album ‘What time do you call this?’ (reviewed elsewhere on these pages) being hailed by modernists all over the scene(s), followed by some serious live action, including the conceptually triumphant Who-support gig, The Lost 45s are back to their destined media form, releasing not only one but two (!) of them at the time, just to make sure they don’t run out of them, while trying to find “the lost ones”. As for the “next projected sound” itself, however good some of the album tracks might’ve sounded, some of these are even better, with ‘God given’ being a Style-ish blue-eyed mod soul, with a jazzy touch to it, ‘Psychotic R’n’B’ finds them halfway between Kim Folwey’s ‘Bubblegum’ and The Beatles’ “revolving” just-about-to-turn-psychedelic sound, while ‘Take your time’ is yet another soulful stomper, powered up with some garagey Farfisa. I’m yet about to hear the other b-side, though I’m pretty sure it cannot be “projected” too far from the rest of its surrounding.

Review written by Goran Obradovic

Printed from www.torpedopop.com

EP review by www.sohostrut.co.uk

The Next Projected Sound of…

Leeds mod beat group The Lost 45s have once again simmered up a storming release, as all the tunes on this double pack 7" vinyl single are magnificent. Opening up with ‘GOD GIVEN', Nick Waters' sings his heart out on this stirring soul driven song. The Lost 45s UK career out a potent brew of R'n'B and blue eyed soul as Mick Ward's organ sound and Nick's own Stax style guitar licks, complement his superb singing. ‘GOD GIVEN' is a heartfelt song filled with passion and melody; a lushly crafted song beautifully sung.

'PSYCHOTIC RHYTHM 'N BLUES' is a hurricane of huge drums and raw guitar power; and is an enjoyable juxtaposition to the soulful opening tune. 'PSYCHOTIC RHYTHM 'N BLUES' is a cauldron of chunky riffs, clashing chords and big bass as this Kinks / Pretty Things style garage rocker is one killer tune. This authentic mod stomp teen dance rave up is fired up with gusto. A totally barmy tune with great hey hey hey's on the backing vocals and the rock ‘n’ roll riffing from Nick Waters is scintillating. 'Brain is running wild again, all mixed up inside again' , Nige Spencer's melancholic psychotic lyrics are nicely contrasted with the energetic mod maelstrom that is ‘Psychotic RnB‘

'TAKE YOUR TIME' is a powered up mod pop monster with ace ohhhs and ahhhs and magical harmonies washing all around, another winning number by the Lost 45s UK. Mick Ward belts out his huge voice with energy and melody, and yet again, Nick loosens out those virtuoso licks on his guitar, with Nige bubbling away on his grooving bass and Davey Fairbrother igniting the drums with his fire, a beauty of a tune! 'GHOST IN THE NOONDAY SUN' ends this double vinyl pack on a moodier note, as this tune recalls The Zombies or Weller at his most contemplative. The smouldering melancholy of Nick Waters' vocals and the moody groove is an extremely satisfying way to end this superb double vinyl single in style.

If you've got ears that want to hear catchy tunes crafted with class, style and melody, all woven together with consummate musicianship, you must get yourself onto The Lost 45s UK website and order yourself a copy of The Next Projected Sounds of The Lost 45s.

Review written by Jonny Magus
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Album review by Scootering magazine

What Time Do You Call This?

Based in Leeds, The Lost 45s have already carved themselves out a deserved reputation in and around Mod and scooterist circles. What Time Do You Call This?, their debut album, provides 12 reasons why they are so highly rated and respected by practically everyone who has seem them.

Opening track ThursdayFridaySaturdaySunday is already established as a crowd-pleasing anthem in their explosive live shows. Both Tracks Of Time and We Were Storming nod and wink with deference to Mr Weller, a pair of superb blue-eyed soul style songs, the latter being a shining example of classic British guitar pop at it's best.
Othernumbers take the 60s garage ethic and give it a 21st century makeover; Ivy hints at The Sonics as a reference point for example.

They can do mellow and emotive as with The Man That Time Forgot, contrastingly Katmandu awakens the spirit of Mother Earth's funky psyche out.
Lots of different directions and styles on offer on this brilliantly diverse debut offering.

Review written by Sargie
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Album review by Mohair Sweets

What Time Do You Call This?

Brilliant! Absolutely one of Biff Bang Pow's top-five releases. Great tunes, great arrangements, great playing, lots of variety, good production and the band looks sharp! Fantastic! Well-done Lost 45s and Biff Bang Pow. (12 tracks. 45:25 playing time.)

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Album review by www.shindig-magazine.com

What Time Do You Call This?

The first album from The Lost 45s is a good, but erratic release. On the plus side the use of three lead vocalists allows the band to visit several different styles of 60's based mod pop. Guitarist Nick Waters gives the band a soulful, R&B dimension whilst organist Mick Ward and bassist Nige Spencer sing in a more pop orientated style. The CD has been divided into two 'sides', presumably because there will also be a vinyl edition. The six tunes on side 2 are much the more satisfying. 'Sister Sue Said' and 'The Man That Time Forgot' draw on the bands' 60's pop and mod influences, but the tunes sound fresh and are typical of several strong songs with good hooks and decent backing vocals.

On occasion the sound can veer towards a pastiche rather than an inspiration. The opening song, 'ThursdayFridaySaturdaySunday' begins with a great guitar and keyboard riff but the fake London accents in the chorus sound bizarre coming from a bunch of Leeds lads, and sound contrived. Similarly, the main riff of 'Ivy' is such a blatant steal from 'Gloria' it is hard to take the song seriously. On the much more interesting and ambitious final cut, 'Montgomery Haigh', the lyrics make respectful references to Love's 'Forever Changes', demonstrating that they can use their influences without being subsumed by them.

Review written by Phil Suggit
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Album review by www.modradiouk.com

What Time Do You Call This?

Here`s Leeds' finest, The Lost 45s and their new Biff Bang Pow release 'What Time Do You Call This?'

Having championed the local Leeds rock scene, this 4 piece Mod beat combo are ready, willing and most able to take on the world with this 12 track CD release from top Mod label, Biff Bang Pow. They`ve already been on many a Mod website across the globe as well airplay in USA and of course our very own Mod Radio UK, now it`s your turn!

First up on the player is 'ThursdayFridaySaturdaySunday' Reminds me of Meynell/Squire somehow, a great opening track! Next up it`s 'The Tracks Of Time'... Funky vibes mixed with brash guitar work and top vocals, makes a great feel good track with shades of Weller. 'Insominiac’, proof that these guys know how to make swinging melodies that flow throughout your mind for days! My fave track, next in line is 'Billy', an almost accoustic melodramatic ditty where as 'Legends' shines of 60`s influences mixed with Mr Weller again, no Bad thing either I must add! 'Ivy' is another top track and should be a dancefloor filler soon! 'Sister Sue Said' is one of the top tracks highlighted in our recent Biff Bang Pow Special show! Fantastic tune! Next up is 'The Man That Time Forgot' I`m mellowed out man! 'Russian Roulette' is a funky vibed 60`s swinger, following on it`s, 'We Were Storming', a Wellertastic popper following onto 'Katmandu' which is another swirly organ fed 60`s hippy trippy funkster of a tune! Last up is 'Montgomery Haigh', a 60`s influenced classical ending to the proceedings.

These guys are gonna be the highlight of 2006, the retro like sound of yesteryear now! Catch these guys during the Rally season and gigs up 'n' down the country soon!

The albums has just recently been launched at the Leeds Brighton Beach do, so go and grab yourself a copy now from all good record dealers now!

Review written by Buster
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Album review by www.leedsmusicscene.net

What Time Do You Call This?

The Lost 45s UK nobly continue their campaign to make beat music a force to be reckoned with on this long awaited debut album. After several EPs and singles the band have re-worked / re-recorded some of their earlier material and presented them in an altogether tighter package. Occasionally the production values don't do the craft justice with vocals sounding a little too reedy for the modern ear but beyond this, for the most part the band deals out a 12 song lesson in sharp mod/pop. Sound wise the pieces have begun falling into place and rather than sounding like a tribute band jumping between homages, the band have now developed their own style, instead evoking memories of The Beatles, early solo Weller, and The Coral amongst others. Ivy is still just as amusing and Russian Roulette now sounds all the better for being a little more twisted. We Were Storming is a real highlight and catches the band on top form. Excellent guitar interplay and well worked backing vocals show the bands strengths off like a Top-Trumps winning formula: what have you got? Tambourine wielding beat... how about you?

Review written by Richard Garnett
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Album review by www.newuntouchables.com

What Time Do You Call This?

A great bunch of lads from Leeds with their debut LP. A cool 60s pop feel with a 21st Century twist, describes The Lost 45s, reminiscent of Mod Revival band Squire. 12 crisp originals written by all the band members with ‘Ivy’( previously released as a single ) taking a strong nod from ‘Gloria’ the excellent all time classic by Them and a live favourite for the boys. Side 2 kicks off with the moddy pop stomper ‘Sister Sue Said’ maybe the next single? Also includes the clever funky ‘Katmandu’ . A cool retro-beat sleeve design too.

Review written by Rob Bailey
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Album review by Scene 64

What Time Do You Call This?

"I was very impressed when I saw this highly rated Leeds outfit last year, and the twelve

self penned tracks here show they can deliver the goods onto record ".

"A few familiar riffs here and there from 60's garage records, and the Mother Earth-like

Track ‘Katmandu’ should tell you all you need to know".

Review written by Dave Edwards

Scene 64

Album review by www.modculture.com

What Time Do You Call This?

Much talked about on the mod scene - does the first album cut it?

The Lost 45s’ What Time Do You Call This? is one from a batch of recent releases on Biff! Bang! Pow!, and is, significantly, a debut long-player by one of today’s up-and-coming young bands on the scene. So, amid the esteemed company of simultaneously released LPs on the label by The Fay Hallam Trinity and Long Tall Shorty, this lot, then, have quite a bit to live up to…

From the off, depth on this album is provided by the range of voices on offer due to the advantageous forming of a group around three lead singers (Mick Ward, Nick Waters and Nige Spencer). Although, at times, this chopping-and-changing of lead vocals hinders an overall distinctive group sound from coming through.

The front cover shows the band – much like Definitely Maybe-era Oasis – amid (what appears to be) their communal bachelor pad-come-eight track recording loft. It’s all Help meets the compact and bijou confines of contemporary city life, where – amid the heightened claustrophobia – tambourines, a propped up Hoffner bass and psychedelic concert poster all suggest a mid-‘60s escapism as relief. Indeed, the inner sleeve variation of the cover shot – in all its LSD-induced wooziness – seems to insist that The Lost 45s’ music is the perfect accompaniment to a pharmaceutical retreat from the stresses of the everyday. Fashion-wise, the group strike a pose like The Clique (during their Acid Jazz years) getting together with Corduroy, ready to go on a Mini Moke beano to Margate; as it’s all NHS specs, paisley shirts, tan loafers and monkey jackets. Furthermore, musically, this release encourages us to return to the heady days of Britpop, with the Camden Town feel of the Weekenders especially being evoked throughout – but with added vocal snarl, fuzz guitar and Farsifa organ.

The opener, ‘ThursdayFridaySaturdaySunday’, a post-Flowered Up warning to all you weekend clubbers out there, introduces the listener to Mick’s ‘London Boys’-era David Bowie meets Marc Bolan warble, whilst the band’s general ‘Dear Prudence’ Beatlely guitars, Vaudeville campness and Middle Eastern drones provide the collective (yet eclectic) musical backdrop. I’d half imagined them, whilst recording this, to be wearing an assortment of Fez-like headgear – just like some motley crew of Mod Tommy Coopers!?!

Next up, ‘The Tracks Of Time’, with Nick’s ever-so-soulful ’80s Mod vocal, is a jaunty summer sing-along propelled by some nice Epiphone guitar – a modern-day take on ‘Headstart For Happiness’ anyone? This is followed by ‘Insomniac’, and is all reminiscent of the ever-so-slightly disturbing toy-town psych of (ironically) ‘I’m Only Sleeping’, with an alarm-clock ringing, yawns and wide-awake kiddy vocals courtesy of Nige throughout – a bit like having a bout of nursery sleeplessness with Dave Dee, Dozy, Beaky Mick and Titch doing their best to sing you a lullaby.

Track 4, ‘Billy’, all lolloping guitars and rolling drum crashes (courtesy of Dave Fairbrother), is the Purple Hearts’ ‘Jimmy’ as if sung by Brett Anderson during an on-stage jamming session with Pulp, whilst ‘Legends’, with lyrics about ‘Chelsea girls’ with ‘starry eyes’, is a contemporary aural reworking of some old Swinging Sixties flick (but instead of optimistic tales of escaping to the Big Smoke, the lyrics here make explicit the reality of being trapped in small-minded Crap Town).

What follows, ‘Ivy’, is pure ’66 freakbeat – highly reminiscent of ‘Gloria’ by Them: Indeed, ‘Ivy’, with its apocalyptic bass buzz, has far more in common with the Purple Heart’s live rendition than Van Morrison’s lot original. And, with mesmerising ‘See Emily Play’ keyboards at three minutes in, this is, without a doubt, one of the strongest tracks on the album (as, if anything, its abrasive content suits the under-production perfectly). Then, track 7, ‘Sister Sue Said’, starting off nicely with the dust and scratches of ye olde vinyl, is all smooth Action-like harmonies and jangly guitars. Well, they say that you have to take the rough with the smooth – and ‘Ivy’ followed by ‘Sister…’ is, melodically speaking, case in point.

And the album’s mellowing continues with ‘The Man That Time Forgot’. Hazy guitar washes. Lazy drums. Even lazier lead vocals. And oh-so laid-back backing vocals (Mick must have sung them whilst lying down!?!). Although, with this in mind, the under-produced nature of the entire album (which, admittedly, does tend to add a certain ‘period’ charm to the whole thing) is more than obvious here – to the extent that this track’s tranquil flotsam and jetsam ambience eventually comes across like hightide has managed to sweep the mikes out to sea.

Then, track 9, ‘Russian Roulette’, with its jazzy guitar and high-hat cymbal splashes throughout, is a sugarcoated warning against the hidden dangers of recreational drug usage. Although, at times, with its Cossack-like ‘Hey! Hey!’ shouts throughout, it’s all a bit ‘Legend Of Xanadu’ ’68 mainstream Moddy pop, where the serious message, in the verbal theatricals, is somewhat lost.

Next song up, ‘We Were Storming’, has a bit of a Badfinger vibe to it – all trebly guitar, dewy-eyed vocals and dreamy backing-vocal ‘oohs’, whilst the penultimate ‘Katmandu’, seemingly sung by a punky Syd Barrett (with its vocal whoops, rasps and screeches), revolves dizzyingly around frenetic wah-wah guitar and ‘Indian Rope Man’ Hammond swoops, is a rather stinging Swirly attack upon some ‘city slicker’.

The final track, ‘Montgomery Haigh’ (all early Floyd keyboards and ‘Defecting Grey’ dramatic changes) reminds me of both Inspiral Carpets (‘This Is How It Feels’) and Bronco Bullfrog (‘Barnaby Slade’). Although, once again, the obvious lacking of a polished production means that the mind-expanding fade is less ‘A Day In The Life’ and more ‘it’s all getting on me bleedin’ nerves a bit now’. It just goes to show that there’s a very fine line between psychedelic studio trickery à la Ogdens… and botch-job tape distortion and backward guitar à la ‘it all sounded soooo good last night, after a few lagers, man’ (sorry ‘Dr D. E. Mento’s iPurple! Workshop Sonic Sound, Collage Creation!’!).

Overall, then, the feel is of post-Sgt. Pepper’s… Immediate pop – in the vein of how the Bullfrog’s music was described of as ‘sunshine powerpop’: music which very much captures the cusp of the optimistic ’60s as it slipped into the dreary ’70s. As, when playing this album, (in your mind’s eye) you’re forever young; the Sun is shining, yer in yer vest and yer favourite brown cords and the laces on yer shoes are undone (who cares?). Yer nose is constantly running and you can’t wait for yer mum to call you in fer yer tea. I suppose it’s just like remembering your childhood through rose-tinted spliff smoke.

Furthermore, as the tracklisting on the reverse of the CD is split into ‘Side 1.’ and ‘Side 2.’, and next to the ‘Full Dimensional Stereo’ note is, as if this is an old Parlophone classic, a ‘Use Emitex’ instruction (nice touch lads!), this release is so intent on trying to pass itself off as an oh-so-authentic product that it could quite easily be reviewed on Retro To Go rather than Modculture. So, one way of describing What Time… is ‘authentic’; as the whole package is, in a contemporary-yet-ageless way, trying to pass itself off as some timeless Mod lost classic. It’s all nudged along in this retro direction quite nicely, of course, via the titles of such songs as ‘The Man That Time Forgot’ and ‘Montgomery Haigh’. It’s as if the band has unearthed some ITC gems and they’ve invited us ’round to theirs for a night around the tele and the Dansette.

Of all the Biff! Bang! Pow! releases I’ve had the pleasure to listen to over the past few months, it’s this record by the Lost 45’s that emphasises that Karen and Paul Hooper-Keeley’s label is trying (so far quite successfully) to establish itself as the Mod label of today: That is, producing contemporary Mod music that draws unashamedly – and, often, quite masterfully – from all strands of the Mod musical spectrum. Indeed, the sleeve notes to this release make this (both the band’s and the label’s intentional grand scheme), I feel, quite explicit:

‘So if you’re a blue eyed soul shaker, a freakbeat raver, a garage groover, a psychedelic mover, or just a lover of great pop music you’ll dig the sound of The Lost 45s’.

Review written by Peter Jachimiak
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Album review by www.sohostrut.co.uk

What Time Do You Call This?

Its not every day a modern classic lands on your doormat. But this is one of them. Leeds band the Lost 45s have been at the forefront of the beat rock scene in that fair city for a while.

modern classic

With a love of both classic soul vibes and sharp threads, they are poised for the break into a wider consciousness across the UK and the rest of planet modernist. The band will be no strangers to regular viewers of this site.

They are: Nick Waters - guitar/vocals
Dave Fairbrother - drums
Nige Spencer - bass/vocals
Mick Ward - organ/vocals

top notch

Previous releases include “Ivy”/“The Man That Time Forgot” and the “Legends” ep (“Legends”/“Russian Roulette”/ “Katmandu”). Both have been top notch and have whet the appetite for the debut album. They are characterised by strong tunes, infectious guitar, and a wonderful Hammond sound that embellishes the choice cuts to perfection. Take the album out, check the quality pic of the band on the front, and stick it on. The album starts with the a sharp chord and the distinctive guitar signature of thursdayfridaysaturdaysunday“, an anthemic anti-celebration of the excesses of the weekend - on Monday “feeling like you've just got run over“. It fires in all cylinders, a true promise of what the album has to offer. Next up is my favourite.

perfect soulful vibe

“The Tracks Of Time” has a perfect soulful vibe. It make you think of Spring and those warm nights that are ahead. it's a tune that can put a smile on the face on the darkest winter morning. And it sticks in the mind - the ideal pop tune to brighten up the day. Love it. Next its an alarm clock ringing and then “Insomnia”, a Britpop-esque ode to that feeling when you can't get to sleep. We all know it! Its followed by “Billy”, one of several classic character tunes, describing the life of an individual who can't stay out of the pub long enough to fulfill any sort of potential - “Billy - why don't you help us to help you?”. Then its “Legends”, the main tune on their ep. Another strong track, with comments about ordinary life in the suburban landscape.

powerful guitar attack

Its followed by “Ivy”. A tale of a young man's visit down the road that many have travelled - “I was walking late one evening down a red lit street” - that seems to have just been done for the crack - “all that I can tell you it really wasn't that much fun”. The story closes with an ironic twist - the mother of the lad's new girlfriend happens to be none other than, you guessed it - “Ivy”. Nice one boys. Its delivered with a powerful guitar attack that is very mid 60s and jumps out at you from the speakers. It's a classic. Next we have “Sister Sue”, another winner, followed by “The Man That Time Forgot” - is that Elvis Costello you can hear, perhaps from “Get Happy“?. “Russian Roulette” is another social comment, about drugs and the inherent risks, and “We Were Storming” is a sensitive tale of an event close to the author's heart, a personal moment that puts in mind the Britpop feel, in particular bands such as Ocean Colour Scene.

classic record

Its followed by “Katmandu”, also from the “Legends” ep and one which drives ahead with a delicious Hammond signature, with a story about a “a city slicker, he don‘t spend his money on women and liqueur“. The final track “Mongomery Haigh” tells the tale of a man who is “stranded in a desert, a place that he can't leave”, has a psychedelic edge and pushes the boundaries. You have to admire the way in which the band deliver it. It works very well.
All in all, this is a classic record. Stuffed with tunes that move and groove and will stand the test of time. It demonstrates the truth that this is a great time to be young (or not so young!) and sharp and alive in Britain. This record should storm the nation. So lets get out there and tell the world about it. Come on - what are we waiting for?

Album review by www.modrevival.net

What Time Do You Call This?

I have ter admit, there’s been a couple of albums I’ve really been looking forward ter getting my mits on, and this debut long player from the Lost 45s is one of them. I’ve been a fan of the band since getting sent the first EP We Were Storming after a tip off from the Right Honourable Lord Magus of Tingley. The on hearing each of their following releases, the Legends EP and the frankly classic Ivy, it was clear that this was a band to watch…..

The album opens with the opening song off their first EP, thursdayfridaysaturdaysunday - a real statement of intent. A rollicking track on the perils of overdoing it every weekend - yer might know it’s wrong but it really only feels like it on Monday morning, we’ve all been there and here it is set to music.
Second song in is The Tracks Of Time, bringing to mind the Style Council’s Head start For Happiness, upbeat and summery and not cursed by Mick Talbot’s vocals! Already Tracey’s early favourite! A real 60’s inspired groovalong.
The third track Insomniac, kicks off with sound of an alarm clock and then cracks into a groovy mix of late 60’s pop psyche and 90’s Britpop - effortlessly catchy, this is going to be a real earworm.
Next up is Billy, again from their first release, and it’s a classic kitchen sink drama in less than 4 minutes. The tale of a hopeless alcoholic and the effect it has on the people around him - this has been a favourite track since I first heard it - classic song writing.
Legends, the title track of their second release is up next - and by now yer wondering when things are going ter go stellar for them, not one of the stronger tracks on the album, but still single material!!
Next up is Ivy, and this should be a bona fide classic I kid yer not. A storming bit of garage beat that’s got smatterings of Gloria and Fortune Teller, and a killer sting in the tail. That little fella from the Arctic Monkeys can kiss my arse, this is the real Yorkshire beat.
Sister Sue Said is up next, and how do they do it!? More killer melodies than a ship full of melodies with murderous intent! Bound ter be a favourite.
The Man That Time Forgot is the flip to the Ivy single, and drops the pace a little, more pensive and reminiscent of Elvis Costello singing a classic mid 60’s pop nugget….. I know what I mean anyway.
Russian Roulette is another track from the Legends EP and has a real Coral/Zutons kick to it, if their was any justice then it would be this yer hearing on the radio, instead of that formulaic scallydelica that gets thrown at us - kick it back folks and insist on the real deal. And this sounds pretty damn close to it ter me.
We Were Storming has the same kind of feeling about it as OCS’ Day We Caught The Train, a timeless tale of times passing - truly touching and moving.
The penultimate track is Katmandu another of the Legends tracks and an instant mover. In yer face and upfront the groove lifts yer, a tale about a mysterious high roller that rolls along nicely thank you and doesn’t even gather moss on the way.
The album finishes off with the psych tinged tale of Montgomery Haigh, complete with effects laden and spoken word interspersed outro. It takes confidence and a fair bit of skill ter pull a track like this off, and they’ve managed that and then some.

When yer really look forward ter something so much it’s very easy ter end up disappointed, but I shouldn’t ever have worried. This is an inspired and accomplished debut, brimming with melody and hooks a plenty. Sounding like no-one but tipping a nod ter all those favourite bands yer always return to after the latest breeze has blown by. It’s the sound of the past moving on and looking forward. The Lost 45s are one of the few bands in our scene at the moment I feel have a real crossover potential, along with the likes of the Freebooting Profiteers and Grasp there’s songs on this album that yer know would stand up along side anything currently being played on national radio, songs that would appeal to a much wider market than our own. The fact they have done all this and been proud ter wear their hearts on their sleeves is a credit ter them. Outstanding.

The album can be bought direct from Biff Bang Pow - this really is a must have folks, a future classic.

Album review by www.mod-ernworld.com

What Time Do You Call This?

Love this album great Mod pop, at times verging on Wellerish overtones especially on songs like ‘The Tracks of Time’ and ‘Legends’ but just great songs echoing most of the great mod sounds from past and present but with a cool 2006 edge!

Printed from www.mod-ernworld.com

Album review by Soundflat

What Time Do You Call This?

After three 45s here's their long awaited debut-album. This english band delivers a superb mix of early 80's mod-pop and 90's britpop and they even flavour the whole thing with a touch of MOTOWN here and there and top it off with some classic UK 60's beat.

Printed from Soundflat mail order

Album review by www.torpedopop.com

What Time Do You Call This?

After three ‘lost 45s’ here they are, all finally gathered on a ‘new-found’ long playing format, with some additional recordings making a strong debut album by this Leeds based bunch of modernists. According to the actual contents of the record, it seems their own collection of 45s ranges from the pioneering mid ‘60s beatsters and shakers, through the late ‘70s / early ‘80s mod revival up to the mid ‘90s Britpop, which might make some of you ask the ‘title’ question upon hearing it all.

Chronologically, they open with a piece of quirky, pop-artish freakbeat, carried on a groovy bass Macca-ronies, called ‘ThursdayFridaySaturdaySunday’, followed by the blue-eyed-Motown-“action”-by-way-of-Weller in ‘The Tracks of Time’, as well as some kinky Hammond-laden popsike of ‘Insomniac’. The following blurry madness is a tale about a certain ‘Billy’ who might’ve easily been a moderndaze cousin of his Hunt namesake, after which they romp into one of “Them old garagey Gloria riffsploitations” (in a good way!) with ‘Ivy’, before delivering another mod-beat stomper called ‘Sister Sue Said’. With the exception of discoid ‘Russian Roulette’ (mixing disco and mod concepts the way Nick Cohn’s original mod-story inspired ‘Saturday Night Fever’) they get kinda modier towards the end of the album, with the laidback Britsike feel of ‘The Man That Time Forgot’, in a way it’s been done by Weller (again), the pair of ‘We Were Storming’ and ‘Montgomery Haigh’ which also remind me of some of his post-punk / pre-soul mod cons while ‘Katmandu’ takes them through a jazzy-psych ‘Traffic’ searching for ‘The Coral’.

I’m still not sure ‘What Time Do You Call This’, but I hope it will be realized by as many as possible, that this stuff is actually pretty timeless.

Review written by Goran Obradovic

Printed from www.torpedopop.com

Single review by Scootering magazine

Ivy c/w The Man That Time Forgot

Third and strongest offering yet from Leeds’ based The Lost 45s, a four piece who are spearheading the North East’s Brit-beat uprising. Ivy is a blistering, 60’s garage inspired wired ‘n’ fired workout, while The Man That Time Forgot heads into the mellower territories of late 60’s psychadelia. Keep both an eye and ear open for these boys, they’ve got the potential to blossom into something rather special.

Single review by Glasswerk

Ivy c/w The Man That Time Forgot