And with its guitar pyrotechnics, sexual innuendo, and big, bruising beats, “Let Me Drive” is one hot ride – Beep beep’m beep beep yeah! “Crazy Boys” presents the fun and follies of fandom, with a dollop of Chuck Berry “Little Queenie” licks – nice. “What’s Wrong With This Picture?” should appeal to Kinks fans. If “Give Me a Reason” is both tender and insistent, “Eat My Words” makes being angry sound downright gleeful. Rescued from a forgotten compilation LP, “The Desperate Kind” delivers righteous, giddy punk-pop. Chryssie Hynde would have been proud to add “He’s Like Heroin” to her million-selling songbook. Opening with a bang, “Run Baby Run” sounds like the Stones after gender reassignment. They coulda shoulda woulda been at least cult stars. Ladies and gents, the Clams were a real rock band, a bit raw and mighty tasty. Independent and self-directed, unlike the Runaways, but just as “Cherry Bomb” hot. More melodically savvy than the Pandoras or Babes In Toyland. enough to make your sensitive Rocker heart vibrate for a long time!' - Voix de Garage Grenoble And it goes without saying, but it always goes better saying it with a perfect dusting of Girl Group! It's beautiful and delicate, muscular and harmonious. But this beautiful collection of songs is also mixed with a bit of Blonde Pop, a tiny touch of Paisley Underground, a bit of innocent Indie Rock from the end of the 80's, a bit of Jangle Pop. 'Musically, the Clams practiced a kind of 'historic channel' Power Pop (obviously) in the American style, with strong Rock'n'Roll connections (a bit like the New York Dolls). As billed, The Complete Clams compiles everything the band recorded during the Reagan years: demos, singles, covers, comp tracks and the contents of their 1988 Exile on Lake Street EP.' - Big Takeover Magazine “Give Me a Reason,” “What’s Wrong With This Picture?”), they’re more comfortable with rough ‘n’ tumble rockers like “Eat My Words,” “Crazy Boys,” a gleeful mugging of the Who’s “Squeeze Box,” and album opener/calling card “Run Baby Run.” “If you don’t want me, you can find yourself a saint,” Lawson sneers on a cover of the New York Dolls’ “Human Being,” which sums up where this sadly short-lived band was coming from nicely. While the band can certainly sweeten up when they want to (cf. Enter the Clams, a hard-nosed quartet led by singer Cindy Lawson and lead guitarist Roxie Terry that drew more from the Stones, Chuck Berry and Detroit than Big Star or the Buzzcocks. 'Considering the embarrassment of riches that was the Minneapolis alternative rock scene in the eighties and nineties, it was inevitable that some cool acts would get lost in the shuffle. They played a style of guitar-based pop that sounded like a cross between the Bangles and a street-gang… lots of great melodies and plenty of attitude!' - Fear And Loathing 'Ms Lawson fronted the renowned Minnesota all-girl group The Clams during the mid-Eighties. Paul music scene historian or simply want to discover a really great garage rock and roll band that has gone largely unrecognized for decades, The Complete Clams is a highly recommended purchase.' - Lord Rutledge, Faster And Louder It's no surprise, then, to hear the Stonesy vibes of 'Run Baby Run' and a most formidable cover of the New York Dolls' 'Human Being.' What I enjoy about this collection is that it captures a very versatile rock and roll band.

She and Roxie Terry formed a bad-ass tandem a la Jagger/Richards and Johansen/Thunders. 'Cindy Lawson was (and still is!) an absolute powerhouse on lead vocals.

The bartunes band