Are You a Boy or Are You a Girl

by

The Barbarians

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I can see why other reviewers panned this release. However, to those who were teenagers at the time and into rock and roll, this music has some validity. I remember when these guys came out. For me, they were just as rebellious as the Stones. The songs hold up extremely well. Although the playing is not all that great, its a case of "atmosphere" over ability (their take on Memphis a case in point). The choice of material was very interesting (the haunting Marie Elena next to the relentless Bo Diddily, for instance). Their set was quite representative of the contemporary underground scene at the time. For that reason it has value. I believe this album, like the Shadows of Knight albums, accurately reflects mid-sixties Brit influenced punk/R&B rock. My 5 star rating is based on their impact on me, an impressionable 13 year old wanna be musician. Oh, well, guess you had to be there. If you were, pick this album up for a trip back to a time and place you might have forgotten.. If not, you might not appreciate it.

The Barbarians had the classic wild garage band image, with long hair and their one-handed drummer Moulty. For the most part though, the music on the original album was not particularly rocking, and mediocre. Also, none of the songs were written by the group. The low points include anemic covers of well-known material like 'Mr. Tambourine Man' and 'House of the Rising Sun.' The #55 charting 'Are You a Boy Or Are You a Girl' was a catchy novelty tune that (contrary to what another reviewer said) was poking fun at the conservative adults of the time who mocked youngsters with long hair, in a lightweight and humorous fashion. The Barbarians themselves could not have been taking aim at the British invasion groups, because the Barbarians (and especially Moulty) had longer hair than almost everyone at the time. Furthermore, the song's progress up the charts was hindered by uneven marketing, making it a bigger hit in New England and the rest of the east coast than in other parts of the country. The follow up record 'What the New Breed Say' was a fair song with rebellious lyrics that stalled at the #102 position. Aside from the repetitive slow rocker 'Take It or Leave It' and the ballad 'I'll Be Seeing You,' the rest of the album was filled with covers of well-known songs that were at best only average. The Sundazed reissue added three bonus tracks. Reaching #90, 'Moulty' was the group's third single, and quite an odd single for a garage band to release. 'Moulty' was on the sappy side, but nevertheless had some appealing qualities in the over-enthusiastic backing vocals, heavy instrumentation and positive message. The 45 was released against their will, and was the reason behind the band unceremoniously leaving Laurie Records. The remaining bonus tracks made up their 1964 Joy 45 'You've Got To Understand/Hey Little Bird.' 'Hey Little Bird' is arguably the Barbarians finest (and certainly most rocking) cut. It is also ahead of it's time being one of the earliest garage rock recordings - combining the energetic and crude American garage style with British invasion influence. 'Hey Little Bird' was also one of the earliest recordings prominently to feature the fuzz guitar. Also of note, the Barbarians played 'Hey Little Bird' on their T.A.M.I. show appearance. The Sundazed reissue is recommended, because the group had some cuts worth hearing, and everything released under their name is on that reissue. The Sundazed album also has good liner notes and track information. (2 stars for original album, 3 for the reissue)