Suddenly, The Jacks make a reappearance, offering five fantastic new songs in an EP released by Mega Dodo. All these songs were recorded between September 2021 and February 2023. However, if you told me they were recorded between September 1976 and February 1978, I wouldn’t doubt it either. In fact, it might have even felt more authentic. To any Power Pop enthusiast, this is the ultimate compliment.

Mitch Griffin shares the story of how one thing led to another.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

After the Jacks compilation had come out in early 2021, Walter and I began a back-and-forth about other songs we could look at recording. “I’ll Always Love You” was the last new tune we had in our setlist back in Cleveland, OH in the Summer of 1978 when we performed as Tulsa Jacks. Oddly enough, it was a song that was forgotten until we brought it up. The only existing performance of this song is by a post-Tulsa Jacks group, The Debonaires. Walter, me, and future Jacks bass player, Stan Lukken on Vox organ. John Bewley, who figures in the whole pre-Jacks history going back to 1971, plays bass. There is a raucous live tape of the performance from March 1979. So, that song became agenda item number 1. “Where I Should Be Now” was another “lost” tune from Walter. Now we had two whole songs! We then took a look at what we already had in the archive. That archive was built from the work on the Reminder Record label compilation, “Make ’em Cry.” The great Jerry Casey tune, “Help Yourself,” was then mixed and included. Another “lost” track was excavated, Walter’s “Touch And Go For Broke.” This was a song that had no vocals, just guitars, bass, and drums. I replaced the drum part and did most of the vocals. Fun song, kind of a windup! Thanks to modern technology, we were able to finish the song. The CD was not our first choice; we wanted to press a vinyl version, but we felt that getting the music out was foremost. That said, I felt that we needed a “bonus” track. So here it is. Tulsa Jacks with Walter on guitar and “heavy friends” from the “Walter’s Vacation” cassette. Remixed and mastered.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

Well, this was some time ago when an instrumental version of “Let’s Lie” was included in the compilation, “Barefoot and Pregnant.” The Village Voice music critic, Robert Christgau, called our song at that time the “best post-Beatle instrumental.” This song eventually had vocals by the time the cassette was released.

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

One of the most memorable gigs for The Jacks, at that time called Tulsa Jacks, would be in August of 1978 at the legendary club, The Longhorn, in Minneapolis, Minnesota. We were based out of Cleveland, Ohio at the time. We were there as part of a package featuring two bands from Cleveland, us and The Pagans. We played two nights, a Wednesday and a Thursday. What made it stand out was that we received a much warmer reception than the “headliner,” The Pagans. We found a readymade audience that appreciated our performance. Less than two years later, I would move to Minneapolis.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

Can you take us through the creative journey of bringing this album to life? What were the key milestones, challenges, and breakthroughs you experienced along the way? This EP was started in the throes of the COVID epidemic. The challenges are always many when the principals are living 700 miles apart. This, of course, is not unique when it comes to Walter and me. Our 1982 cassette-only tape, “Walter’s Vacation,” was created in some way the same. I was in Oklahoma, September 2021, where we did the guide track for “I’ll Always Love You.” It was very crudely recorded. Walter’s guitar and my 3rd drumset that I cobbled together and carted down to the studio of Jerry Casey in Broken Arrow. We did three takes. Take one was the “one”! Mind you, this was the first time Walter and I had played together since 1991. It was magical. Through the wonderful technology of today, I was able to eliminate my drum track and retain Walter’s guitar part. I re-recorded my drums in my studio in Minneapolis. This was the most successful in regards to being in disparate locales.