singles   Cheap Trick "Babytalk" b/w "Brontosaurus" 7-inch (Sub Pop) This 7-inch sounded like a dream combination from the start: Cheap Trick, Steve Albini and Sub Pop, so how could such high expectations lead to anything but initial disappointment (perhaps because Robin Zander's vocals are buried for the first time)? However, after a few listens, its infectious energy grows on you till it's all you can think about. The B-side features another Cheap Trick cover of a Roy Wood (of Move/ELO) song, "Brontosaurus," which stands testament to the High Priest of Rhythmic Noise's unswerving obsession with Anglophilic '60s mod pop. Ironically, however, the song sounds more like old Cheap Trick than the A-side. Thanks to Albini's production, the record's sound is Cheap Trick in aural black and white: a raucous ferocity, crunching sonic assault of guitar nihilism accented with Zander's consummate rockgod voice. Both inspired and inspiring, it wins my vote for 7-inch of the year.     The Nazz "It Must Be Everywhere" b/w "Sidney's Lunchbox" (Distortions Records) On a related note: local psych label Distortions Records plans to put out a 7-inch by Rick Nielsen's former band, Sick Man Of Europe, and following in suit of the incestuous brit pop theme, Distortions has just released a 7-inch from The Nazz: a lukewarm foray into late psychedelia with early delvings into prog rock. Highlighted by prodigious, weighty, primitive drum sounds, the A-side, "It Must Be Everywhere," is comparable to Todd Rundgren's classic work. It may not be the best thing they've ever done, but take the leap of faith because it's The Nazz. No matter what, it's still a hundred times better than what most bands today are doing.     The Fiends The Fiends EP (Dionysus) Also newly released is a four-song EP by The Fiends, new Canadian trash featuring Sonics-induced garage-adelia. Fronted by Greg Gorie (whose voice has drawn comparisons to Brak from Cartoon Planet), the band's stage show horror-rock shtick doesn't come through on this 7-inch. Gorie's pissy, indecipherable vocals sound plausible at both 33 and 45 rpm, which can be looked at as either good or bad. The second song - pure Back From The Grave-style garage punk glory - should've led off the EP. "I See The Writing On the Wall" is a perfect excuse to drag the go-go boots out of the closet. The Fiends' zealous (albeit monodimensional) hyperactivity is a welcome change after the oh-so-jaded shoegazing, techno obsessed acts that typify the music of the '90s. - Geeta Dalal