A dripping handful of Brylcreem and a well-used black comb situated in the pack pocket of the rolled up Levis, the clicking rhythm of bubble gum and fast cars, fast girls and twangy guitars while engines from a Ford Thunderbird rev in the sunset. Enter The Rousers blasting out energy and sucking you in with their nod to yesteryear: style, nostalgia and a healthy twist of twang done The Rousers way.
I had the opportunity to converse over email with a couple of these rabble Rousers about their new/old release on Left For Dead Records which has been unearthed in all its glory. The 1979 Sire Session has landed and now is the time to feel the high energy rock 'n' roll the way the forefathers intended: loud, dangerous, balls out, sweat soaked, unadulterated magic. Get it while it is red hot, as in, "My girl is red hot, your girl ain't doodly squat. Go Cat Go!"
Scene Point Blank: A rouser is defined as someone who wakes others or does something stimulating or exciting. Did that type of definition help name the band?
Tom Milmore: Our name was inspired by Duane Eddy's "Rebel Rouser"... It seemed like an exciting name.
Scene Point Blank: How important was Duane Eddy to the Rousers' sound? Did you ever meet him?
Tom Milmore: We did meet him after going backstage to get his autograph at a show he did. He was very nice and gentlemanly. One thing that was a revelation seeing him, was that we had spent a lot of time getting that "boing diddy boing de boing diddy boing" thing he was known for -- bending the string with just the right touch to emulate his sound. When we finally saw him, he did it with his whammy bar! Completely shocked us! His twangy guitar was one of many things that inspired our guitar playing.
Scene Point Blank: How and why were the New York Dolls influential to the formation of The Rousers?
Tom Milmore: As high school kids in Connecticut, we had a band. We played Stones covers mostly.
We were really just learning to play. We saw the Dolls and realized -- not only that were they incredibly exciting, entertaining and charismatic -- they were also primitive musicians just like you. It was quite an epiphany!...
We started going to the city to see them and discovered a whole slew of NY rockers that also played original songs...We started writing songs as well, and it was a natural progression as we all ended up in NYC after high school for art school or jobs, so we started continuing to play together again... A CBGB audition soon followed, and we were off to the races.
Scene Point Blank: How instrumental was Peter Crowley in the progression of the band?
Jerid O’Connell: Peter Crowley was unlike any of the other club managers. He didn’t sit in his club waiting for bands to call. He went out and discovered bands. He truly loved the music. When he saw a band that he liked, he would not only give them bookings at Max’s, but he was so complimentary and encouraging. Long before the Rousers thought we were any good, Peter told us we were. When Peter saw us at the audition night at CBGBs, he immediately approached us with an offer of a booking at Max’s. This led to constant gigs at Max’s, which gave us the experience of playing live and the credibility to get into all the other clubs. Peter did this for so many bands. He does not get the credit he deserves for creating the '70s NY music scene.
Scene Point Blank: Once you gained traction, there was a buzz around the band. Was there any club in NYC you didn’t play at the time?
Jerid O’Connell: I’m sure there were a few that we missed, but there were so many clubs back then in the city and I played most of them. Mostly we played Max’s and Hurrah. Looking at a list of shows we did from Sept 1978 to May 1979, 8 months, we played Max’s 14 times, Hurrah 6 times, CBGB 1 time, plus a bunch of other assorted dates around town.
Scene Point Blank: What would your top three gigs be and with whom did you share the stage?
Jerid O’Connell: 1) New Year's Eve 1978, playing Max’s with Robert Gordon. David Johansen joined us on stage, and we did Eddie Cochran’s “Something Else.”
2) December 16, 1987, The Place in Dover, NJ with The Cramps. They were so amazing, but what I remember most is watching them eat at Friendly’s restaurant. The family-friendly restaurant meets psychobilly. I wish I had had my camera!
3) May 21, 1981, Max’s, our next-door neighbour in The Music Building rehearsal lofts, opens for us. I believe it was the first time she billed herself using just her first name -- Madonna.
Scene Point Blank: Any memories of the Sire sessions with Ed Stasium at the helm?
Jerid O’Connell: The room we recorded in was so small that we could barely fit in. We played “live,” no one-instrument-at-a-time nonsense, and it really captured our energy. When we recorded at other studios, they would record the drums and bass first, then add the guitars and vocals separately. For me, as the drummer, I could not play this way. I need the energy of a full band to get the feel.
Ed is such a fun guy who really brings out the best in a band.
Scene Point Blank: What happened with the potential Sire deal?
Jerid O’Connell: Seymour Stein told me he thought we should release the recordings in England. The Rousers were holding out for a “major” label deal, so we didn’t pursue the offer. In 1980, Sire was bought by Warner Brothers, so we would have been part of a major label.
It worked out just fine for Madonna, who signed with Sire.
Scene Point Blank: Any memories of Madonna opening for you at Max's?
Tom Milmore: Yes...We knew her from the music building on 8th Ave...We rehearsed on the same floor. At that time, we knew her as Emmy, the name of her band. One time, we had our electricity turned off, and we asked her if we could run an extension cord. She said no.
At the Max's gig, her first as Madonna, she had a band of all hired guns, we were friends with her drummer, Bob Riley. At the end of the night, our manager demanded a bigger cut of the door because she did not draw very well...Pretty sure that was the only time that happened to her!
I did watch a couple of songs from her set. I mostly remember she wore a sheer top with no bra!
I guess it would have made sense to sign one of the other record deals, but the whole point of The Rousers was to have fun, and that goal we definitely accomplished
Scene Point Blank: How did you come to be on Jimboco Records?
Tom Milmore: I met Jim at my girlfriend's apartment as he was putting out a record by her. I played him the Sire demo, actually. Originally, he was going to release a single from those sessions but, before that happened, we got a new manager, and that brings us to the next question!
Scene Point Blank: How was Wayne Kramer chosen to produce The Rousers' single?
Tom Milmore: Our manager also managed Wayne, so it was thought we should re-record the songs with Wayne producing them... It turned out that recording was messed with after the fact, and ended up not being as good as the Sire sessions. So now, in 2025, the record is finally out -- as originally intended.
Scene Point Blank: Besides RCA and Sire, were there other labels touting interest in The Rousers?
Tom Milmore: Yes. We did a showcase for Epic Records... We rented a big studio, and the guy came in with one other person and sat in a chair, smiling and tapping his foot. We only found out later that Bert Padell, who set it up, turned down an offer for an EP... He didn't even tell us an offer was made!
Scene Point Blank: Are there any regrets or anything you would have done differently in the development of The Rousers?
Jerid O’Connell: We took our shot and did our best to navigate the music business.
Looking back now, knowing that we would not land the perfect record deal, I guess it would have made sense to sign one of the other record deals, but the whole point of The Rousers was to have fun, and that goal we definitely accomplished, so no regrets!
Scene Point Blank: I hope this release introduces more people to the energy and sounds of The Rousers. Any parting thoughts?
Jerid O’Connell: I’m just thrilled these songs are finally getting a proper life outside an old tape box. We cut them fast and loud in ’79, never imagining they’d resurface forty-plus years later. If this release turns a few new folks onto The Rousers -- or reminds old friends why they liked us in the first place -- I’d be a very happy Rouser.
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lead photo from The Rousers bandcamp
