12" LP / CD / Digital
October 12, 2010


Recorded at Joe’s house using master engineer Bob Widenhofer’s 16-track 1/2” tape deck this time around, the move from 8-track to 16-track allowed the band to stretch out with harmonies and instrumentation that create even more depth than before, and it really shows on tracks like the speaker stinging buzz of Bee Line, the Brummels-esque All Comes Back, the deceptively dark Funny Girl and the otherworldly World Has a Ways to Go. (Harm’s Way was recorded at legendary rockabilly/blues studio Fort Horton Studios to nail the vintage Bobby Fuller vibe the song called for.)  All in all, you get twelve foot stompers including the air guitar-worthy instrumental title track and a jem of a Neil Diamond cover.  An instant classic from one of the best garage bands of this era or any other.

Motor! That’s the driving sound that defines the Ugly Beats. Don’t stand still. Move! Motor! Git! That’s how they do it in Austin, Texas. Cuz it won’t do a bit of good to sit on your haunches. Make action happen (it ain’t gonna happen by itself, that’s for sure). Anyway, the Ugly Beats know how to do it. Umm, motor, that is. 

They open the throttle from the first beat and don’t stop until the reverb fades from the last groove. And they take their brand of motorin’ from Austin to San Antonio to Corpus Christi to Tulsa on to Lisbon, Rome, Madrid and Paris (why let an ocean get in the way when you’re motorin’?). Its little wonder why the kids cant get enough of the BEATS!  They give the hipsters, ho-dads, rat rodders and long-boarders the energy to build better bodies eight ways. 

The Ugly Beats prove that they can motor. And the proof is between the lip and label of the platter you hold in your hands. We encourage you to take this hunk of wax out of the jacket and put it on a spindle to experience for yourself. Its their third long-player, and we think its their best.

~Johnny Barlett of California