by Nancy L. Foster

The area’s long time favorite garage band will defy the cellar dwellers of the low lit grotto not to dance when they rock Union Square’s Toast Aug. at 8 p.m., at free show sponsored by The Somerville News.

Rock ‘n’ Roll scribe, Brett Milano will get the stompers stomping with rare garage records from his private collection from 7-8 p.m.

“The first time that I saw Lyres was shortly after I moved to Boston in September in 1980. I don’t remember much about the show in particular except thinking that Jeff looked like Ian Hunter of Mott the Hoople,” said Brett Milano the author of “Vinyl Junkies.”

Lyres had their first practice in Somerville in 1979 and have been favorites of area clubs like the Kirkland Café and the Abbey Lounge for many years since.

Not only are Lyres neighborhood favorites, but they are favorites at festivals from NYC to Las Vegas to LA. Across the pond in the UK they are featured at the Wild Weekend festival. In Spain, where they toured in 2001, they brought fandom to a whole new level.

Lyres are constants on dance floors and turn tables wherever people enjoy their rock ‘n’ roll raw and unadulterated.

“I never saw DMZ until a reunion at the Rat in 80s. Lyres are my overall favorite band. I’m sure that I’ve seen them more than any other band by now and I’m still ready for more,” Milano said.

“I can’t really sum up what makes them great other than that Jeff has the world’s greatest sense of exactly what needs to be played and never plays anything else. The band just embodies that primal spirit that is rock ‘n’ roll.”

Previous to Lyres, Conolly fronted DMZ. A keyboard master and soulful vocalist, Conolly has written songs that are so popular in Japan that in 1994, Wallabies Records released a tribute album to his pre-Lyres group, DMZ, called “Watch for Me Girl.”

Conolly said DMZ started as a college student lark. “In 1975, my friend at 700 Towers at Boston University who lived on the 12th floor, two floors below me, told me that he was in a group that was playing at a MIT frat gig in Kenmore Square. I went and I saw them and was invited to tag along to the gig rehearsal. The next week the group gave my friend the singer Adam Bomb a bunch of crap and put him down.

“He split and I hung around. Then I asked ‘em if I could sing a song with them. I said ‘Let’s do “Search And Destroy” (by Iggy and The Stooges),’” he said. “They, for some reason, thought that I was really good and asked me to be in the group. They canned my friend.”

What happened next made DMZ his band and set Conolly on his life’s path. “I left on a weirdo vacation with my family to Vail, Colo. to go skiing. After a few days, I was bored and started getting trashed with the locals and having parties with my new friends during the day in my dad’s corporate condo with the corporate gallon bottles of corporate booze,” he said.

“I started writing songs during vacation like ‘Boy From Nowhere.’ When I got back to Boston I had original songs to teach the DMZ group that I was asked to join. I had more originals than the group had because they had absolutely zero,” he said.

“I kinda weaseled my way into becoming an important member of the group right off the bat even before their second gig which turned out to be a Monday or something like an audition night at the Rathskellar,” he said.

“We were an instant success or something like that. So, I stayed on and started taking it seriously. I stopped going to my classes at BU, which I was not doing well at anyway” he said.

Conolly said his goal for DMZ was to be a cross between the 13th Floor Elevators and Iggy and The Stooges.

One of the primary differences between DMZ and Lyres is that DMZ combined ‘60s and ‘70s punk, whereas Lyres are more faithful to their ‘60s roots.

Moreover in Lyres, the keyboards play a more dominant role in the sound. Because Conolly was mostly unencumbered by his Fender Rhodes piano in DMZ, he could explore the outer limits of being a wild, uninhibited front man.

In fact, seeing Conolly perform with DMZ was an epiphany. Conolly, who was then known as Monoman due to his penchant for monaural recordings, shook like a victim of St. Vitus Dance.

Ron Rimsite of 99th Floor magazine compared the two bands. “Lyres are better musically and make better records, but DMZ were more exciting to watch!”

J.D. Martignon of Midnight Records said, “DMZ was the first punk band that I ever saw. They are the reason why I got into this music in the first place!”

DMZ was captured on vinyl early on when “Boy From Nowhere” and “Ball Me Out” were recorded for “Live at the Rat” in 1976, which was Boston’s answer to NYC’s “Live at C.B.G.B.’s.”

Conolly added his keyboard prowess to the Animals’ tune “Roberta” on the Real Kids’ debut album on Marty Thau’s Red Star records in 1977.

Conolly’s Jerry Lee Lewis influenced accompaniment that was just the spark that the song needed. He said, “It was Alpo’s idea!” (Kid’s bass player, Allen “Alpo” Paulino.) “I went to the studio in New Jersey and found an old Wurlitzer to play.”

Kids’ guitarist, Billy Borgioli said, “Jeff’s rock ‘n’ roll piano was a great addition!”

Conolly said he sometimes performed the song live with the Real Kids.

Greg Shaw released DMZ’s “Lift Up Your Hood” EP on his Bomp label in 1977. In addition to the title track, cuts included originals “Busy Man” and “When I Get Off” and an incendiary rendition of the 13th Floor Elevators “You’re Gonna Miss Me.” From the upbeat, sexually playful “Lift Up Your Hood” to the trenchant power of the other three cuts, DMZ proved their versatility as well as their musical and emotional depth.

It’s still hard to fathom the baleful, ominous voice of “When I Get Off” coming out of this beautiful androgynous creature with angelic ringlets framing his innocent looking face.

Conolly was barely out of his teens and the juxtaposition of his sweet looks and this venomous voice was enthralling. Yet, the biggest shock was yet to come.

DMZ signed to Sire records, home of the Ramones. The 1978 album was produced by Flo and Eddie of Turtles fame. The faces on the cover were DMZ. The songs were DMZ songs. But the sound was unrecognizable.

Conolly said, “I think they were trying to get a new wave Pat Benatar sound out of us!”

Another Ramones’ label mate was more cynical when quoted in Monte Melnick’s book “On the Road with the Ramones,” He said “Any non-Ramones Sire bands were just tax write offs for the Ramones!”

As a fan, associate and friend of DMZ, Greg Shaw said he was particularly disappointed by the sabotage of DMZ’s album. ”I was really annoyed when the Sire album came out. I mean it wasn’t like Seymour [Stein] wasn’t checking out any bands that I took an interest in. Many labels were.

“For some reason, I had stopped working with him by then or it would have come down a lot differently. Where Seymour got the idea for Flo and Eddie to produce, I can’t imagine. I did introduce them to him. I knew them well. I could have warned concerned that it was not a good idea,” he said.

“Don Galucci (Don and the Good Times), would have been a much better choice. Lenny Kaye, even Genya Raven,” he said.

“But no one asked me. It’s a sad thing. They might have made a great album. I just don’t think that Seymour understood the musical vision behind the band. The reason Jeff’s music holds up so well, even 28 or so years later, is simple: it’s built on very solid rock!” he said.

In fact, in 1991 Shaw said he did his in part showing the public that DMZ could indeed make a great album when he released “Relics” on Bomp’s sister label, Voxx.

General consensus of DMZ fans was: “Now, this is the band that we know and love!” There were nine great cuts-six masterful originals and three faithful renditions of garage nuggets from the Pretty Things, 13th Floor Elevators, and The Standells.

Conolly himself said the lessons learned from DMZ shaped his vision for the Lyres. “I envisioned the new group, Lyres to be exactly like a four-piece version of DMZ that played at C.B.G.B.’s in NYC in July of 1978.

“The four-piece version of DMZ was just J.J.[Rassler] on guitar as opposed to the two guitarists that DMZ generally had,” he said.

“Man, it was really great. It had tons of potential, but unfortunately J.J. didn’t see it that way,” he said.

“J.J. said DMZ had to have two guitarists. He just didn’t want to get saddled with being the only guitar player. He was certainly good enough to do it,” he said.

“We already had ‘In Motion’ recorded as a four-piece DMZ as well. It got played all summer at C.B.G.B.’s,” he said. “Next thing, I know Blondie has released ‘One Way Or Another.’”

“There was no conscious decision to make the new group Lyres more keyboard oriented. Yet with just one guitar, the balance shifted and somebody had to pick up the slack,” he said.

In 1979, Lyres released “Don’t Give It Up Now” and “How Do You Know” on Chip Lamey’s Sounds Interesting record label. These two Conolly originals are still live favorites.

“Don’t Give It Up Now” has become the anthem for the undying passion of the independent, do-it-yourself music scene.

“How Do You Know” is a real Lyres’ rarity as it foregoes keyboards. This number is so popular that it’s covered by Lyres’ garage cohorts, the Classic Ruins.

Conolly said he easily concedes that Ruins’ lead singer Frank Rowe takes the song to the next level. “Frank does it better than me. He’s a monstrosity of a singer!”

As if to return the tribute, Conolly recorded Rowe’s Geraldine” on the 1994 release “Some Lyres.”

In 1981, Lyres released a four-song EP on Ace of Hearts, affectionately known as the “purple EP” because of its mood lifting sleeve which is as easy on the eyes as the contents is on the ears.

The songs include “Buried Alive,” ”In Motion,” ”High On Yourself,” and the only non-original “What A Girl Can’t Do. On the record, the power of Conolly’s keyboards and his ever more soulful vocals were a foreshadowing of master works to come.

Over the years, the Lyres have enjoyed great press. In 1984, Oui magazine, Lyres were described as a speedball. “[Lyres] create hysteria in sometimes sedate audiences. Their single ‘Help You Ann’ with its manic tremolo was a hit on college radio.”

Fanzeen, a music tabloid, chimed in with a similar report the same year: “White soul wonder vocals backed by a real gritty garage sound. Lyres put out great records, most recently a powerful album on Ace of Hearts records, ‘On Fyre.’ They back it up with mind-bending shows featuring intense front man Jeff ‘Monoman’ Conolly.”

In 1984 came Lyres’ ON FYRE(Ace Of Hearts).One should congratulate Rick Harte for producing the album which belongs on every rocker’s list of top ten rock ‘n’ roll albums of all time.

The blazing guitar on “Help You Ann” is rock ‘n’ roll personified. It’s stood the test of time so well that Courtney Love covered it in her live shows recently.

Lustful originals like “Dolly” combine with killer covers like the slow burn of “Soapy” which two decades later still kills when played live. Bands who need lessons in musical dynamics should use this song as a primer. The way the band very, very slowly and very, very excruciatingly builds up steam and then releases the pent up energy in a climactic eruption is without rival.

The lighter, more poppy end of the spectrum proves to be equally appealing as when Lyres cover swoon tune, “The Way I Feel about You.”

The album has two impressive Kinks’ covers, with the writing of both Davies brothers represented-Ray with “Tired of Waiting” finally done with appropriate languor, and Dave with“Love Me ‘til the Sun Shines,” where Conolly plumbs the depths of his soul.Few artists take the risk to stand this emotionally naked.

The group, Lyres have continued to build on their catalog. Ace of Hearts released “Lyres Lyres” in 1986 and “A Promise is a Promise” in 1988.

Lyres have recorded for Taang! Records as well which released “Nobody but Lyres” in 1992, ”Happy Now in 1993 and “Some Lyres” in 1994.

Always a playful lot, the group, Lyres used a cover for the “Some Lyres,” which parodies the Stones’ “Some Girls” cover. This album also includes illustrious collaborations with Stiv Bators of The Dead Boys and Lords Of The New Church on the tender “Here’s A Heart” and Wally Tax of the Dutch Outsiders on the sensual number, “Touch.”

Lyres contributed “We Sell Soul” to the Roky Erikson tribute “Where the Pyramid Meets the Eye” in 1990, on Warners records.

Lyres provided several recordings for Crypt that make excellent dance party platters, “Live 1983,” “Let’s Have a Party” in 1989, and “Early Lyres” in 1997.

Their work with Norton records includes contributing a cut, “Ring Dang Do,” to Sam The Sham and The Pharaohs tribute, “Turban Renewal” in 1994 and a full length “These Lyres” in 1995.

In 1998, Lyres did a split single with the Chesterfield Kings for Living Eye Records. The Kings covered “Help You Ann” from Conolly’s catalog and Lyres’ crowned the Kings with their remake of “She Told Me Lies.”

Lyres’ newest releases include the 2003 dance floor stomper “Tear You Up” on D.U.I. and a 2004 Stones’ cover “Now I’ve Got A Witness” on Norton.

Conolly provided lead vocals and keyboards for Nic Dalton of Australia’s Half-A-Cow records. The single “Together All the Time” with the b-side “Hot Plate” under the name Booster Valves was released in 2003.

Conolly is definitely a “Busy Man” to quote one of his own compositions, but he’s never too busy to play on a friend’s record or give some pointers to garage cohorts like keyboard player, Kat Kina of The Charms.

Conolly said he loves The Charms. “They are my friends. They are nice people and really play well. I enjoy doing gigs with them.”

Recent Lyres’ gigs included Little Steven’s Garage Festival at Randall’s Island, NY on Aug. 14.

As for innovations, Lyres have added gorgeous multi-layered harmonies to the relatively new additions to their set, “You’re My Number One” and “I’m Your Guy.”

Of course, Lyres manage to add polish to their repertoire without ever losing their edge. As for any other changes, as they say if it ain’t broke, don’t fix it.

Conolly on Vox organ and tambourine is a modern day Orpheus, driving fans wild with his songs. At a gig with David Aguilar of Chocolate Watch Band fame, female fans covered Conolly’s Vox with flowers.

On New Year’s Eve at Zuzu, a local female musician crawled under his Vox, playing Ms. George Sand to Conolly’s Chopin. At the Aug. 8 Kirkland show, when Conolly asked for a beer, a bevy of garage beauties covered the stage with pub glasses of IPA.

It’s crucial for a maestro to find and keep the right musicians. Despite some personnel changes over the years, the 2004 Lyres take the stage with the same lineup as in 1984. Danny McCormack, as guitarist, has a painterly style that colors each song with various nuances that are subtle when need be and emphatic when need be.

What can be said about Rick Coraccio on bass? Paul Murphy on drums? Nothing, other than you won’t find a more effective, more exciting rhythm section anywhere, anyhow.

Coraccio is just steady rock solid. Murphy whacks his snare like he’s beating down some wild beast.

The way Murphy plays taps into something primordial and transforms the crowd into preverbal cave dwellers who can communicate only through dance.

Sometimes, when Murphy gets away from the straight beat and follows one of Conolly’s keyboard riffs, their music is more intoxicating than ever.

After two decades plus, Lyres are still “On Fyre” and that’s no lie!