There may be little substance to Tenpole Tudor’s raucous, jaunty pub rock, but that doesn’t make it any less rousing or engaging. Combining the full-on Cockney bellow of Eddie Tudor with thumping singalong anthems for drunken sods, Tenpole Tudor manages the difficult task of maintaining a sense of loutish fun without allowing it to descend into boorishness or bad humor. Songs like “Let the Four Winds Blow,” with a chorus of strung-along monosyllables, make for jubilant fist-in-the-air rallying cries. “Tenpole 45,” composed of little beyond handclaps and chords as quick and sporadic as electric shocks, finds the band prefiguring the sort of quirky new wave that would break nationally shortly thereafter. But the members of Tenpole Tudor are hardly musical innovators — and that indeed is much of their charm. They are simply four brutish lads in leather jackets possessed of a marvelous sense of humor and a keen way with bending rockabilly and punk into joyous working-class carols. It’s difficult not to smile at the jumpy jackpot-inspired “Three Bells in a Row” or the “too-rah-loo-rah-loo-rah-yay!” chorus of “Swords of a Thousand Men.” Wunderbar serves not only as an ideal starting point for Tenpole Tudor, but is an adequate finishing point as well. There is little beyond these dozen and a half tracks that warrants further investigation, but what is included here is priceless. – J. Edward Keyes