In collaboration with this year's Record Store Day, Sweden's ELECTRIC BOYS released a brand new 12" EP in celebration of the occasion. They were first formed in Stockholm, Sweden in 1988 and have their roots steeped in 70's groove rock and 60's pop and psychedelia. They enjoyed a cult status in Europe in the end of that decade attributed to their critically acclaimed debut, 1989's "Funk-O-Matic Carpet Ride". Unfortunately further follows up in 1992 - "GROOVUS MAXIMUS" - and 1994 - Freewheelin" - failed to live up to expectations and by then, grunge had helped to sweep the nostalgic act aside, as well as losing and gaining a few members along the way. The band soon dissolved after releasing their third album.

Singer Conny Bloom went solo, later joining Finnish glam metal band HANOI ROCKS and convincing them to add his former band mate, bassist Andy Christell as well. After HANOI ROCKS' breakup in 2009, the original ELECTRIC BOYS lineup decided to reform many years later, releasing "And Them Boys Done Swing" in 2011 and critically acclaimed "Starflight United" in 2014. In all their years together they tirelessly were touring, opening for several high profile acts such as METALLICA, ALICE COOPER, and MR. BIG to name just a few. Unfortunately, thanks to the COVID-19 pandemic, Record Store Day was postponed until the end of June. Apparently the distributer disregarded the postponement and the EP was made available in limited edition of 300 copies. Both of these covers - pop hits from two very different eras of music - are previously recorded but unreleased tracks - "The Lion's Roar" by FIRST AID KIT and "Life's Been Good" by Joe Walsh.

If you're expecting a hard rock or even funk rock take on these pop hits you will be disappointed. Very little of the band's signature style is displayed here and seems mainly to be front man Bloom's second solo EP as he released an EP under his own name at the same time alongside this one. Bloom admits they don't do many covers and "The Lion's Roar" was meant to be for a TV SHOW in which several bands would perform a song that was from the Swedish charts by someone else. It certainly shows Bloom's vocal range, pretty low in tone as he tries to accommodate the typically female led parts. The JOE WALSH track is a suitable cover but from the cavalier attitude Bloom spoke about it in an interview - apparently it was from an old DAT tape that was "lying around at home" from 1992's "Groovus Maximus" session - doesn't really give me any reason to give it a second listen. I regret to say, only purists and completionists will find much enjoyment from these tracks.