The critically acclaimed debut album from The Wildhearts is back in print for the first time in 26 years. Pre-order – released on 13/09/2019
Re-Released in all its glory on 180gm vinyl Earth vs sees classic albums back on vinyl to complement the Round Record releases of the more recent Wildhearts albums.
Originally released in 1993, “Earth vs The Wildhearts” is the critically acclaimed full-length debut album from The Wildhearts, fronted by the inimitable Ginger, and featuring the singles ‘TV Tan’, ‘Suckerpunch’ & ‘Greetings From Shitsville’. Hailed as Kerrang! magazine’s Album Of The Year in 1993, it was originally issued on LP, cassette and CD, with the vinyl edition soon becoming a much sought after collector’s item following its deletion. Now, for the first time in 26 years, the album is being reissued and will be available on heavyweight black vinyl.
New album – Glasto appearances – and now an interview with Ben at RPM it’s all happening for Ulysses at the moment check out this cheeky Interview on everything Ulysses.
The new album ‘On Safari’ is a bit of a monster, well-done sir! It has been getting a great response from fans and critics alike, are you surprised at all the positive feedback?
Relieved probably! I didn’t really have any expectation of how it would go down other than I knew people who already like us would have to get their heads around it as it’s a different animal than ‘Law And Order’ and I hoped they would eventually consider it as good, if not hopefully better. Every album we do is different though, we don’t write music to order, we just do what we do and if anyone whatsoever at all likes it, it’s a bonus!
I think I referenced everyone from Kiss and ELO to Supergrass and Super Furry Animals in my review. You have a lot of classic 60’s and 70’s influences going on but there’s a bit of disco and new wave going on, you seem to have branched out your sound more than ever this time?
We were listening to a lot of Tom Petty and The Heartbreakers anyway and then he died so were listening to them even more! The Cars we’ve always loved, just feeling the late 70s / turn of the 80s thing really, the English end too, Nick Lowe, Elvis Costello, Joe Jackson, etc. ‘Doctors And Nurses’ chorus popped in my head fairly fully formed, I heard it a bit more Grange Hill theme tune, we kept some of that but it also turned into a full-blown Disco smash, maybe I was listening to too much Bee Gees. I did personally stop worrying about being stuck in one or two styles and just did what I used to do which is just do whatever I want and not worry about it.
What song on the new album are you most proud of?
‘Calendar Street’ was a beast – I’m proud to have finally tamed it, I dreamed the Medieval intro and that helped finish it off. I think ‘Bad Tattoo’ is the best overall song in terms of songwriting and conciseness, although I felt uncomfortable with how ‘serious’ it was to begin with. ‘Situation Man’ is a personal victory/breakthrough, it’s a step in a different direction. We’re proud of all of them though really.
How do you approach songwriting?
Just things or a part of a song pop in my head to being with, fairly fully formed. I usually sing something into my phone or grab a guitar or piano and then figure it out and play that into my phone. Then I’ll bash out a rough demo of it where I can throw down some other ideas / parts at it. Takes a while to craft it into a final version, sometimes playing it with the band and doing a band demo of it is when it finally all comes together / Denny and Shane will put their stamp on it etc. There’s no real formula. Lyrics I find the hardest to finish, but I probably enjoy writing lyrics more these days so that’s getting easier.
Have you ever written a song, only to be told it was just a rip off of something else and then scrapped it?
Only by myself. Once when I presented a song to the band they all laughed, but then it turned out to be one of our best and most popular songs – who’s laughing now eh?
The weirdest is when you get a review saying a song sounds like a song by someone you’ve never even heard of.
Like many bands in today’s musical climate, am I right in saying Ulysses is not a full-time thing for you guys. Band members have full-time jobs and families to feed. In that respect, is touring and promoting a new album an easy thing to workaround for you?
It is difficult, but I feel we’ve got to a point where I consider us lucky – we can do the band fairly legitimately and with a degree of success but basically alongside our normal lives with families and jobs, etc – I’d say that was pretty cool really. I think there are too many models in music these days in my opinion, I don’t think you can be model for that corporate shit and be an edgy Punk musician, sorry. I blame Vice magazine, or maybe it’s not their fault, it’s just symptomatic. Music should be made by suburban weirdo outsiders, not rich kids who grew up seriously good looking.
Let’s talk about the fantastic cover art by Caitlin Mattisson. How did that come about?
We had Howlin Rain and friends in common on Instagram and I just immediately loved her work, so I sent her a message and we cut a deal. I wanted something celestial – turned out perfect! Would love to work with her again.
It looks like a page from an adult colouring book. Maybe a second pressing of the vinyl is in order, the cover on matt paper and some free crayons?
We’ve sold half of the vinyl already but alas all the money is going to into the big black hole of debt. Maybe if someone could stump up the money we could do a ‘Ulysses band members’ scratch n’ sniff version?
You recently played multiple sets at the Glastonbury festival. How was that experience?
It was great thanks, probably not as glamorous as it sounds. We played 4 of the smaller stages, so it mostly working out how were going to get our gear from one stage to another etc! It was really lovely though, great people everywhere we went pretty much – one of the best. We also met Steve Frost from The Young Ones / Who’s Line Is it Anyway etc when we played the Theatre And Circus Backstage Stage – he was a total dude.
Who was the best artist you saw that weekend?
We clashed with The Cure which was the only band I really wanted to see alas. By fate, we shared a bill on the Acoustic Stage Backstage with Marla and David Celia, a Canadian / German acoustic duo/couple, and they were fantastic. Great to hang out with too and we’ve stayed in touch, hopefully, do something with them next year. And of course our good friends Magic Bus who were the perfect hippy festival band on the Croissant Neuf stage.
You have toured and shared stages with many bands over the years, who is the nicest musician you have met?
Hmm the nicest. Well apart from the above, Marc Ford was a big hero for me, he was great, very sarcastic though. We drank a lot! Scott Holiday from Rival Sons is a pal and top guy. Richard Thompson was lovely, he had sandals and socks on too. Probably the nicest was either Bobby Conn who I’m a huge fan of (the most humble should-be-a-massive-star mega-talent around) but we fell out as I don’t like cats, or Michael Tyack from Circulus who I don’t think gets enough credit for helping bring in this current wave of Medieval and Pagan influenced culture around at the moment. Oh and also Ed Bazalgette from The Vapors who not only is a magnificent guitar player, he is also a very lovely fella.
I have to say though that as far as I can remember everyone we’ve played with or met has generally been pretty lovely company. There’s a few who have been hard work but they probably have conditions etc.
We have a really wonderful network of DIY and indie label bands that we play with and are friends with and love. I would liken it to a modern version of CBGBs – its lots of disparate and stylistically quite different bands thrown together by basically all having very limited outlets / opportunities, but appreciating each others’ talents and weirdness. That’s what the ‘Indie’ scene is these days for me.
The worst celebrity encounter though was Barry Wom when me and Shane Ulysses went to see The Rutles play in Bristol a few years ago. We went to talk to him after the show about Patto the great 70s band he was in, and he literally just completely blanked us and turned around and carried on drinking his pint with a handle. Pretty cool though.
If you could have one of your heroes guest on your next album, who would you choose and what instrument would you get them to play?
It would have to be Paul McCartney and he’d be on drums, sorry Shane. Or maybe Lindsey Buckingham on whatever he wants, if he’s feeling better.
When people think of Luke Smyth, what do they most associate you as being?
Hairy, like Jeff Lynne crossed with Marc Bolan, like a bearded Marc Bolan basically. Possibly a bit of a weird pervert? You tell me!
RPM: What was your first guitar, and what song did you first learn on it?
LS: God… Um first guitar was my older brother’s I think, and I could play along to the melody of Beatles records by ear when I was about 5, which is kind of weird now I think about it.
What do you think was the best year for music in your lifetime?
I thoroughly enjoyed 1993 and 1995, but during 1997/98 I worked in an independent record shop and there was a phenomenal amount of good albums that came out in that period, Air, Spiritualized, Super Furry Animals, Pavement, Jon Spencer Blues Explosion, Supergrass, Beck, PJ Harvey, The Make Up, Massive Attack, Primal Scream, an endless list.
If you could have a billboard anywhere in the world, where would you have it and what would it say?
In the middle of the Sahara desert, and to quote The Heads “Everyone knows we got nowhere”.
If you could go back to your 20 year old self, what 3 pieces of advice would you give?
Oh just the usual: make love to as many women as possible, travel about a bit, and stop worrying about everything so much for God’s sake. There’s definitely a few people I would advise myself to avoid.
And finally, if you could have a drink with anyone, alive or dead, who would it be and what would you drink?
If it was a man I would share a drink of Peyote and magic mushroom tea with Paul McCartney, or if it was a lady I would share some kind of bedroom enhancing beverage with Winona Ryder, or maybe late ‘70s Dolly Parton, I’m not fussy.
Stiff Little Fingers are pleased to announce additional UK/EIRE tour dates this summer.
After the traditional and critically acclaimed run of UK dates in March, the band is back on the road in May and August to deliver their usual energetic and spellbinding performance to fans across the country. With a career spanning over more than 40th years, Stiff Little Fingers’ live shows always become something special and a unique event that never disappoints.
2019 Celebrates 40 years of the band’s iconic debut album ‘Inflammable Material’.
Released on 2nd February 1979, the album features the legendary tracks ‘Suspect Device’ and ‘Alternative Ulster’.
Stiff Little Fingers have been very incredibly active in recent years, playing some very prestigious live shows, including two years of headline sold-out hometown performance in Belfast’s Custom House Square; London’s Hyde Park British Summer Time concert with Green Day; the 28thtraditional St. Patrick’s Day sold-out show at Glasgow iconic venue Barrowland.
In addition to the live performances, the past 5 years saw Stiff Little Fingersrelease two records: their 10thstudio album “No Going Back” in 2014, which showcases a band at the height of their powers, still able to capture the heart of the listeners with relevant topics and honest sound, reaching #1 in the UK charts; and a live album “Best Served Loud – Live At The Barrowland” in 2017, which immortalizes Stiff Little Fingers’ epic performance at their annual St. Patrick’s Day show.
Formed in 1977 in Belfast Stiff Little Fingers were among some of the pioneers of punk rock. Joining ranks with the likes of The Clash, Sex Pistols, The Damned, Buzzcocks, and Undertones they brought in a new era of music and they still persevere in keeping that spirit alive 42 years on!
UK TOUR DATES
Fri 16thAug – King George’s Hall, Blackburn
Sat 17thAug – Hardwick Live Festival – Hardwick Hall, Sedgefield, Co. Durham
Sun 18thAug – Tivoli, Buckley
Tue 20thAug – KK.’s Steel Mill, Wolverhampton
Wed 21stAug – Guildhall, Gloucester
Fri 23rdAug – Academy, Dublin
Sat 24thAug – Putting The Fast In Belfast – Custom House Square, Belfast
FRANK TURNER today releases ‘Eye Of The Day’, the latest new track to emerge from his forthcoming eighth album, ‘NO MAN’S LAND’ (out August 16th on Xtra Mile Recordings/Polydor Records), produced by Catherine Marks and featuring an all-female cast of musicians. Frank has recently revealed details for a 9 date UK headline tour showcasing material from the new project– including two sold-out dates at London’s Alexandra Palace Theatre on November 30 and December 3, 2019. The tour will see Turner put a new twist on his formidable live set up, featuring a solo set followed by an unplugged band performance in seated venues. Stream ‘Eye Of The Day’ here: https://FrankTurner.lnk.to/MataHariPR.
Arriving alongside the fourth episode in Frank’s popular companion podcast series, ‘Tales From No Man’s Land’, ‘Eye Of The Day’ pays tribute to the life of Mata Hari in one of the album’s most starkly affecting tracks. Originally born Margaretha Zelle in late 1800s Netherlands, Mata Hari became celebrated as a dancer in turn-of-the-century Paris, taking her stage name from an Indonesian term meaning ‘Eye Of The Day’. Following the outbreak of World War One, however, Mata Hari was arrested by the French authorities on suspicion of involvement in espionage, and following a perfunctory trial was identified as ‘Agent H21’ and executed.
‘No Man’s Land’ is dedicated to the vital stories of women from history whose lives have all too often been overlooked by dint of their gender. Hailing from across wide geographical and historical lines, they also include Byzantine princess Kassiani (The Hymn of Kassiani), Egyptian feminist activist Huda Sha’arawi (The Lioness), and Resusci Anne (Rescue Annie) an apocryphal drowned virgin whose face was used as the model for the medical CPR mannequin across the world. There’s the serial killer from the Deep South who plucked her victims from lonely hearts pages (Nannie Doss), the jazz-obsessed heiress who fought for the Free French (Nica Rothschild) and a rowdy coach house landlady from 17th century Camden Town accused of witchcraft (Jinny Bingham).
“It’s bringing together my two main interests in life, which have always been separate from each other – history and songwriting,” explains Turner, who can be found seeking out long-forgotten historical sites on self-guided psychogeographical strolls when he’s not packing out arenas or headlining festivals.
The ‘Tales From No Man’s Land’ podcast is available from Apple Podcasts, Spotify, Acast and all other podcast platforms. NO MAN’S LAND features thirteen tracks:
Young Guv has revealed his new video and single, “Patterns Prevail”. He explains, “the track is a love letter written by my collaborator Aurora Shields, but dissolved into a song. As long as the patterns in the colours of a rainy summer sky mash together with a glowing streetlight continue to prevail in a bittersweet tangerine tone, so do the patterns in the musical notes of yearning and infatuation, of tenderness and chaos, rapture and combustion. Complimentary patterns of the night and day will always prevail. We are all experiencing sadness and happiness through love, and that’s the balance of it. That’s life, I suppose. ”
Young Guv’s latest endeavour GUV I, delivers a collection of staggeringly poignant and infectious pop tunes which he describes akin to “people-watching in a foreign country in the morning, trying not to cry from the overwhelming feeling of sadness and happiness.” Another way of putting it; Young Guv songs are about being alone. The album is the first volume of a two part LP series and sees its release August 2 on Run For Cover Records — details on the second to come.
Jack “Oblivian” Yarber was an absolute unknown to my ears I’m not afraid to admit even if he is on solo album number seven!.
Finding time doesn’t seem to be a problem for the prolific Yarber as the list of bands Yarber has been a member of over the years is Huge and a review all of its own but he has spent time with Johnny Vomit & the Dry Heaves (a high school punk project that also featured future Squirrel Nut Zipper Jimbo Mathus), ‘80s new-wavers the End, ’68 Comeback, Knaughty Knights, and Tav Falco’s Panther Burns. Two of Yarber’s former bands — the Compulsive Gamblers and the Oblivians — have seen their reputation and following swell in the decade since their demise, especially the Oblivians, whose international fan base borders on rabid. Due largely to his stint in these bands, both partnerships with Greg Cartwright, now of the Reigning Sound, Yarber has been an acknowledged influence on artists such as the White Stripes, the Hives and Jay Reatard. and breath. Don’t worry I’d only heard of the last three bands as well.
So what do they sound like you ask? Well, its got a melting pot kinda vibe about it but all within the confines of playing some tasty Garage Rock and Roll and some swampy blues thrown in for good measure. The first track is an instrumental bluesy workout that has plenty of guitar choppin’ but in the time-honored tradition of Thunders opening with ‘Pipeline’, it’s not the longest song in the world and helps the listener get comfortable before heading deep into the record.
‘Scarla’ is a stomping bluesy bit of slide driven Rock and Roll with the merest whiff of Psychedelia on those vocals but its a toe-tapper. ‘La Charra’ is brooding but I keep waiting for the drums to kick in over the honking horns but it doesn’t and before you know it the songs moved on. That’s another point here the songs are pretty short which is why they’ve managed to cram in Sixteen songs. Maybe treat the instrumentals as more like musical interludes while you go get anouther beer from the cooler. ‘Girl On The Beach’ has a little bit of Reggae going on and does remind me of Jaya the Cat in a weird sort of way.
The recording sounds a little lo-fi but that’s sympathetic to the style the band is bustin’ out ‘Stick To Me’ is like they’re channeling their inner Keith Richards which is never a bad thing right? Right. That Lo-Fi vibe is never more evident than on ‘Dream Killer’ with its drum machine buzzing by. Things get snotty on ‘Boy In A Bubble’ whilst it sounds like they’re leaning on Wilco Johnson on ‘Funky Blue’.
I love the folkiness of ‘Bank, Gun, Jail’ its like Dylan never happened. Possibly saving the best til last as ‘Loose Diamond’ is Chuck Prophet leading the Urban Voodoo Machine through a slow smoke filled daydream a very decent tune indeed. I think if some of the chaff was cut away off this record Jack would be sitting on an excellent garage blues album that’s not saying its not a very good record but it might help focus the listener’s attention better or is it just me? Either way, go check out this cool slab of wax and drift away to something entirely different.
DELUXE COLLECTOR’S BOX-SET 1979, AND SPECIAL 40thANNIVERSARY INDIVIDUAL DELUXE REISSUES OF OVERKILL & BOMBER TO BE RELEASED ON OCTOBER 25th 2019 PREORDERS PLUS
WATCH A PREVIOUSLY UNRELEASED,
LIVE VERSION OF ‘BOMBER’
After several years of planning, Motörhead and BMG are delighted to announce the start of an exciting, extensive and detailed ultra-fan-friendly release programme spanning the band’s career from the 70s, ’80s, 90’s, and beyond!
Kicking things off with the ‘Motörhead ‘79’ campaign, it celebrates the 40th Anniversary of the incredible Overkill, and Bomber albums with fantastic new deluxe editions, both as hardbound bookpacks in two-CD and triple LP format.
The releases feature previously unheard concerts from the ’79 tours, interviews and many unseen photos. Also, the ’79 campaign will see the release of the spectacular ultimate fan/collectors 1979 Box-Set.
All three of these releases have been created with the full cooperation and involvement of the estates of Ian “Lemmy” Kilmister, “Fast” Eddie Clarke and Phil “Philthy Animal” Taylor.
The 1979 Box Set contains:
*Both the original Overkill and Bomber albums half-speed mastered and pressed on 180-gram vinyl created from the original master tapes
*Two double-live albums of previously unheard concert material from the ’79 tours
*A 40-page period-accurate ‘music magazine’ featuring unseen photos and fresh interviews regarding the era
* The Rest of ’79 Vinyl, featuring B-sides, outtakes and rare tracks
* ‘No Class’ 7” single with gatefold art
* The Bomber tour programme
* Overkill sheet music book
* ’79 badge set
* All encased in black biker jacket box
By going through the band’s extensive private archives, to receiving the assistance of key people who were part of their ’79 circle of friends, crew, and accomplices – as well as consulting with super fans – all parties are immensely proud to show the level of detail and commitment which has gone into all three of the ’79 releases, and which will continue with future projects. It was always Lemmy’s demand to give the fans the very best possible in every respect, we believe we have achieved that with these reissues.
A further element of the ’79 box-set release is to offer Motörfans new, old and in-betweenish the full scope and context of how life was when these classics were being created. 1979 was a seismic year for many reasons, and both Overkill and Bomber were written, recorded and toured against a Great Britain dealing with strikes, Margaret Thatcher, football hooliganism plus Buggles and the Bee Gees!
And on the 9th March 1979, millions of unsuspecting viewers tuned into the BBC’s Top Of The Pops to witness the loudest, most raucous, dangerous and downright exciting band on earth perform the title track of their album Overkill.
A hybrid of punk, rock and heavy metal played with relentless, ear-curdling power, Motörhead were a force of nature propelled by bassist & vocalist Ian “Lemmy” Kilmister, guitarist “Fast” Eddie Clarke and drummer Phil “Philthy Animal” Taylor.
The alchemy between these three outrageous and utterly immortal men was nothing short of life-changing for millions, and all three shared a wonderful ‘mad band of brothers’ approach to life and music; there was no ‘off’ switch and they became legends as a result.Overkill and Bomber are icons, brain-damagingly brilliant to the nth degree, and their enormous influence still reverberates through all genres of music to this day.
See below for full details of the Overkill and Bomber releases and be sure to visitThe Website for news and updates!
BOX SET TRACKLISTING Overkill Side One
(I Won’t) Pay Your Price
I’ll Be Your Sister
Tear Ya Down
Limb From Limb
Dead Men Tell No Tales
Stone Dead Forever
All The Aces
Good N’Loud Live At Friars, Aylesbury – 31st March 1979 Side One
Keep Us On The Road
Iron Horse / Born To Lose
(I Won’t) Pay Your Price
Too Late, Too Late
I’ll Be Your Sister
I’m Your Witchdoctor
Train Kept A-Rollin’
Limb From Limb
White Line Fever
Sharpshooter Live At la Rotunde, Le Mans – 3rd Nov 1979 Side One
All The Aces
Dead Men Tell No Tales
I’ll Be Your Sister
Too Late, Too Late
(I Won’t) Pay Your Price
Train Kept A-Rollin’
Limb From Limb
White Line Fever
The Rest Of ‘79 Side One
Too Late, Too Late (Overkill 7″ B-Side)
Like A Nightmare (Alternative version of No Class B-Side)
Over The Top (Bomber 7″ B-Side)
Stone Dead Forever (Alternative Version)
Sharpshooter (Alternative Version)
Bomber (Alternative Version)
Step Down (Alternative Version)
Fun On The Farm (Bomber Outtake)
Treat Me Nice (Bomber Outtake)
You Ain’t Gonna Live Forever (Bomber Outtake)
A lot can change over the course of three years. The debut full length by the Glam Skanks rocked my musical world with its mix of 70’s glam and glitter influences mixed with classic rock, hard rock, and a healthy dose of attitude. After living with the album for quite some time, it became the first review I ever wrote so it carries that special memory with me as well. Since that time, charismatic vocalist Ali Cat left the band during the end of the touring cycle for the album with her replacement Vanessa McNiel joining, and the band continuing to tour. I was shocked at the change because I feel Ali just has “it,” that star quality that so few possess. Vanessa had huge shoes to fill for my musical taste, and I had totally unfounded concerns in my head soon after the change that this would be the end of that special musical connection I felt with the band. My hunch is the members spent the time touring and discovering that they have a great chemistry with Vanessa as well, whose excellence I will champion throughout this piece. Another key change in the world involved the presidency here in the United States and several things that have come to be due to current policies. Lyrically, there have been some changes where the band have some songs spell out exactly how they feel. With ‘Glitter City,’ some of the lyrics dealt more with interpersonal relationships and the bad things that can happen to people when they treat others poorly (‘Karma’ and ‘Bad Bitch’ for example); the band has successfully addressed much larger social issues on this album. The Glam Skanks have come forward to remind us that not only are they one of the best up and coming bands, but they are also one of the best bands period.
A gradual fade in introduces ‘No Way to Live’ which carries with it some AC/DC edge in the verses combined with some 70’s glam accents on the end of the chorus that really give the song more character and a Glam Skanks stamp on it. Veronica stands tall as one of my favorite guitarists as she lays down the riff and resists the urge to overplay on songs. This lead song immediately told me that things would be a little different than their debut. While I have heard their lead single from the album many times, I did my best to black it out while listening to the album. Vanessa gets some open verses to highlight and make her voice known. Her voice fits the band perfectly, and you will be singing along with her by the last chorus. ‘How Do You Sleep at Night?’ features a great riff by Veronica with a nice groove being laid down by Millie (bass) and Jessica (drums). Sound-wise, the band has perhaps channeled more 70’s rock than glam on the album, but this is quite simply timeless in its execution. The chorus on this one is not complicated, but it has enough to become addictive without feeling repetitive. Vanessa uses a combination of power and a lighter touch in her vocal as she encourages the listener to pay attention and take action in the world. Another awesome riff and groove feature in ‘Push and Pull Me (like you do)’ features one of my favorite hooks on the album and provides a great showcase for Veronica to lay down a great guitar solo.
‘Anything in Between’ follows and is another hard rock gem with the band expertly explaining why gender norms are not necessary and up to each person. This is another great chorus that immediately demands to be sung while the guitar riff is part Aerosmith, part NWOBHM (think Def Leppard and not Diamond Head), and pure excellence. ‘Jurassic Snark’ comes from the same musical well as ‘Karma’ from their debut with the slow hard burning blues putting the emphasis on the power. It provides a great close to the first half of the album as each musician gets to shine on this one.
First single/ video ‘Time Warp Woman’ opens the second half of the album, and, while it took a couple listens for me, this is another great hard rock song with another anthem for a chorus. I love that beat that Millie and Jessica lay down with the piano in the mix really highlighting that this song comes from the ’70s by way of today. It is a brilliant melding of musical worlds. The vocals in the bridge are a highlight from the album, even if I wish it stretched out a bit more, as well with the band showing yet another side to their sound. The band then change gears with a slower early Alice Cooper vibe giving way to a sizzling performance by Vanessa on the vocals where her tone and feel recall a big ballad approach. This combination with some tasteful backing vocals give the song a unique approach. It also continues to show that the Glam Skanks are not going to be boxed into any categories. They showed incredible diversity on ‘Glitter City’ and have continued to show they do not want to make songs that all sound alike, but they also all have this common DNA which let’s us know that we are listening to the Glam Skanks. Their albums become a journey where you do not want to just listen to a song or two, you want to hear them all because they all bring something different to the experience. The band bring together decades of rock n roll with the ‘Spirit of Rock n Roll’ recalling many trailblazers from the past, similar to ’29 x the Pain’ by the Wildhearts. The guitar solo comes from the spirit of Chuck Berry with the band also musically recalling everyone from the likes of David Bowie, T.Rex, and Suzie Quatro.
The last two songs go deeper lyrically with today’s social media dominated world being address in ‘Who’s Watching Who?’ where the band questions our goldfish bowl type approach to life. The bluesy groove fits the song perfectly with the pre-chorus setting up a great hook. Veronica lays down another great solo which is short on the album but could be a great opportunity for an extended one live. Final track ‘Land of the Free’ features spoken word style vocals as the current story of the southern border of the United States is told. The band brings many elements to the table here with the initial samples at the beginning and the chorus of voices near the end of the song being joined by some punk spirit that reminds us of how varied and deep the Skanks are in their approach. The closing sample again reminding us of our civic responsibilities to do what needs to be done.
‘Glitter City’ was a landmark debut for me, and I was honestly afraid this album was doomed to fail when the change in singers happened. I have seen drummers come and go in the band more frequently than Spinal Tap, so those changes have not rattled me. The musical combination of Veronica and Millie is quite simply magical. Ali brought with her strengths and contributions which will always be amazing; Vanessa has demonstrated that she fits the band equally well with her own unique abilities. The old adage that a sophomore slump is to be expected because of the length of time artists have to create their debut versus the follow up can be thrown out the door here. The Glam Skanks have continued to grow and develop as artists while creating 10 new songs that do not copy what they did before but instead also provide them with 10 more songs that can be used in the live setting to highlight their diversity. In a year with so many great albums being released this summer, it takes a lot to take up musical residency on my system, but this one has joined the rotation with the likes of the Wildhearts, Poison Boys, Dogs D’amour, Darts, Geoff Palmer, and the Sweet Things. Rock n roll is truly alive and well.
‘Take It Out On You’ is 1990 Bored! E.P. Which has now, On this release been expanded by adding a bombastic and brutal take on ‘Iron Man’ to complete these sessions from that year; it features Tim Hemensley on both Bass and Vocals. Australias best exponents of loud over the top Rock and Roll!
Its dark – mysterious – dirty; Detroit dripping Australian Rock and Roll at its absolute finest. Perfectly marrying that Stooges fuzzed-out – Fucked up reckless Rock and Roll with some of Australia’s finest like Birdman and a clear understanding of punk rock and at the sharp end of the Grunge explosion along with the likes of Mudhoney they get all that Detroit influence.
From the opening ‘Conquest’ you certainly get the impression of a band who’ve left the tape rolling inside a studio with no windows or air-con and a band who are just playing harder and harder.
It’s a killer collection of full of wild riffage and attitude soaked vocals. ‘Mr 10 Percent’ is everything you wan tit to be. Purposeful, angry yet just being under control and even when the solo takes off it never sounds like they’ve lost control.
‘Sweet Charity’ is pure ‘Funtime’ era Stooges with its stretched out jam vibe and seven minutes of sonic excellence as it assaults your senses on several fronts. Its a heaving angry jam and played loud is a Godsend of Garage punk Rock. the title track, however, has a handle on a more rock n Roll Misfits kinda vibe rather than being just punks they take the Garage Rock route.
There isn’t a huge body of work behind the band but there is a history of quality and Bang Releasing this on the back of 2016 ‘Piggyback’ compilation is a pretty decent place for you to start if you’re new to Bored!
Side two of this album starts off with my favourite track on offer here ‘Final solution’ has a huge throbbing bass chug and sort of mashes up some Jon Spenser Blues Explosion with some of that Detroit Action Rock n Roll and absolutely own it. I love the chorus and the laid back tempo and groove of the song is exceptional. ‘Motherfuckin’ Motherfucker’ is like Iggy fronting Motorhead and as far as attitude goes what are you expecting considering the song’s title? All killer and no filler is about the best place to start.
‘Iron Man’ is heavier (if that’s possible) imagine if Sabbath were a punk band weened on VU and the MC5 rather than UK psychedelia. It does, however, sound like a whole world of fun and I’d imagine more than a couple of stubbies were downed in the making of this racket and when the tempo changes someone is certainly channeling their inner Kramer meets Iommi and that’s always a cool place to be.
If you like loud guitars and songs with a great sound in the Garage Punk hard rockin’ style than fill yer boots you’ll love this bad boy.
To be fair to BANG! Records they have pushed the boat out as far as Bored! goes and have plenty on offer over on their web site. BORED! “Get off my wah-wah and suck this!”, BORED! “Piggyback”, 2LP, BORED! “Negative waves”, LP-CD, BORED! “Junk”, LP, BORED! “Scuzz”, 2LP, TIGER BY THE TAIL, S/T, LP-CD (Featuring Dave Thomas on vocals and guitar)and to complete the set ‘Take It Out On You’ is here. Buy it