This documentary aims to tell the story of how the genre of ska evolved from its original form in Jamaica in the 60s, through two-tone in Europe in the 80s, into an entirely new sound in the 90s and became wildly popular all around the world for a brief moment in music history. You’ll hear the stories from the early years of some of the most well loved bands including No Doubt, Fishbone, The Toasters, Let’s Go Bowling, Operation Ivy, and Skankin’ Pickle, as well as how the rise to fame occurred for the radio success stories The Mighty Mighty Bosstones, Reel Big Fish, and Save Ferris!
Film features interviews with members of No Doubt, Reel Big Fish, Less Than Jake, Goldfinger, the Pietasters, Fishbone, Save Ferris, Let’s Go Bowling, Dance Hall Crashers, the Specials, Mustard Plug, the Toasters, Skankin’ Pickle, Hepcat, the Slackers, Kemuri, Blink 182/the Aquabats, the Hippos, The Skatalites, Sublime and many more!
A “love letter” to third-wave ska, the film delves deep into how the genre of ska evolved from its original Jamaican form, through British “two-tone” in the 80s, into an entirely new global sensation in the 90’s, when it became wildly popular for an all too brief moment in music history; From the early years of bands like No Doubt, Fishbone, The Toasters, Let’s Go Bowling and Skankin’ Pickle, to the massive radio success of The Mighty Mighty Bosstones, Reel Big Fish, and Save Ferris.
‘Pick It Up’ is narrated by Rancid’s Tim Armstrong and features commentary from the likes of No Doubt, Reel Big Fish, Less Than Jake, Goldfinger, the Pietasters, Fishbone, Save Ferris, Let’s Go Bowling, Dance Hall Crashers, the Specials, Mustard Plug, the Toasters, Skankin’ Pickle, Hepcat, the Slackers, Kemuri, Blink 182/the Aquabats, the Hippos, The Skatalites, Sublime and many more!
The Kopek Millionaires – So Alone (Bandcamp Self Release) Gotta love Johny Skullknuckles when he drops a single without fanfare I always think to myself – what a tune! and being a massive fan of Soho Roses and knowing Mr Skull Knuckles this was always going to be a bit of a banger and so it would prove to be. If you haven’t got a clue who or what I’m chundering on about then this is a great time to educate your ears and marvel in a bit of punk rock n roll before it was even a thing. Mixing up the make up of Hanoi Rocks n the Dolls and drinking special brew with the Buzzcocks Soho Roses were a couple of singles and an album then crash and burn in a blaze of glory one last night in the Astoria never to be seen or heard of again. Let Johny and his Kopek Millionaires remind us all of their splendour with this trashy take on their classic ‘So Alone’. Enough waffle from me just clck the link and head over to bandcamp for a blast done exceedingly well.
Johny Skullknuckles – ‘A Face Made For Radio’ (Self Release) If one release wasn’t enough Johny turns in his second offering. ‘A Face Made For Radio’ is four tracks of snotty power-pop-punk rock n roll (and breathe) ‘Turn My Day Into Night’ is a rapid couple of jabs followed by a wild haymaker and if it connects then whamo! you’re done. Its snotty ragged punk rock with melody and a hook. Then he follows it up with something a little punkier ‘Cheap Night Out’ is the sound of a cheap night out great guitar licks around a banging backbeat.
‘Overattached’ is a ’70s agony aunt dedicated to kinda song. Like The Boys meets Buzzcocks with a punchy bass run it’s my pick of the four. then to wrap it up there’s the trashy ‘Cool Christine’ and whilst she might be cool shes not as cool as the tune about her. Keep on Rockin’ Skullknuckles we need more trashy punk n roll in the world and this will tide us over nicely. pick up a copy here
Chuck Prophet – ‘High As Johnny Thunders’ (Yep Roc Records) With a distinguished career in one of the 80s best alt-rock bands Green On Red and a solo career since that’s produced dozens of great songs why would this latest single from Chuck not be on our radar? with his sultry late-night vocals and amazing guitar skills, Prophet sees the first release in two years and is about to hit the road ‘High As Johnny Thunders’ is a mellow laid back affair led by acoustic guitar and strings its a beautiful number and anything singing about the Dolls and Thunders gets a huge thumbs up from me especially when its this good.
Calva Louise – ‘Interlude For The Borderline Unsettled’(Ditto Music) an EP featuring Five tracks that are really three-track because Calva goes old school and does a clean and non clean mix as well as a remix of the lead track ‘Belicoso’ sees the band deliver some of their CyberPunk racket on the public. With a heady mix of dance and breakbeats its a confusing sound it’s not quite the prodigy but the spirit is there. ‘Sleeper’ is more pop noise if there’s such a genre (there is now) this manchester three-piece are causing a stir on mainstream radio stations with a Radio 1 jock hailing their sound as ‘Face Melting’ so not too shabby praise. the band mix it up further with ‘Adelante’ channelling their inner Depeche Mode with a decent slice of electronica. Facebook
The Young Gods – You Gave Me A Name (BUONASERA Productions Sàrl) Available on all digital platforms the Young Gods have been pushing the limits of sound for more than thirty years. They began as pioneers of industrial punk who flirted with surreal cabaret, and as sonic wizards they moved on to shamanize electro/techno music, all the while forging their own unique sound. Some genres for you to explore right there. this release is a trippy slice of experimental rock it comes with a remix of ‘Tear Up The Red Sky’ by Gaspar Narby. Check it out, space cadets.
Jay Allen & the Archcriminals – ‘Beautiful Chaos EP’ (Rum Bar Records) The fact that Jay Allen is truly Neil Diamond’s Cousin isn’t something you hear every day and who are we to argue? but there is where any comparisons might begin and end as Jay rocks with a roots ragged slice of rock and roll maybe had they had Cous Neil singing the BVs that would really have been something. Its a rock solid single is ‘Beautiful Chaos’ and the fact its part of the Rum Bar stable is good enough for me to want to give it a play and some. The second track ‘Big Lie’ is from the same ragged rock n roll that bands Like The Replacements fell outta. Just check em out on their Bandcamp page you might just surprise yourself – Bandcamp
Belladonna – ‘Astronomer Of Life’ (Belladonna Records) The video of Astronomer Of Life is synced to a scene of a pre-existing movie, the last scene of the Russian director Andrej Tarkovsky 70s movie Stalker. It is a one-take-only video, but it has an overwhelming starkness, otherworld-ness and emotional power. That’s what the press release said me I’d say its an acoustic atmospheric number that doesn’t particularly go anywhere and is just kinda’ there. A band for a late-night chill out I’d imagine and maybe not what a singles club is looking for at this time. but we’ll let you be the judge of that
Beat City Tubeworks – ‘Rat Race’ (The Sign) You wanted the best you got the best Beat City Tubeworks channel their inner Kiss meets Imperial State Electric and come up with ‘Rat Race’. Action rockers everywhere will wet their dirty denim when they get down n dirty with ‘Rat Race’ Jönköping Sweden birthed these rockers and they’ve sped along ever since. you know the drill by now it’s 70s Rock mixed with some dirty attitude and this is taken from their soon to be released album ‘I Just Cannot Believe It’s The Incredible…’ which originally came out in 2016 but the Sign Records are rebirthing the beast so check em out. Facebook
Lazybones – Trash Talk (Say Something Records) “That moment when you know you’re about to say something you’ll regret, when you’re right on the edge and you just can’t stop it,” vocalist Candi Underwood explains. this thumping track has boundless energy as the song is driven by that wild fuzzed guitar and the big vocals that spit the lyrics all over the track.
It’s fresh and commercial enough to have wide-reaching appeal and no surprise that Radio has been playing this track Facebook
Cabinet Of Millionaires – ‘Stop The Coup’ (Chocolate Fireguard Records) Politically charged electronica much like Chumbawumba of yesteryear. Cobbled together speeches fro the likes of Corbyn and Jones reciting some of Johnson’s lies and foul-mouthed diatribes that seem to pass the general population by without even a raised eyebrow. Many people say you shouldn’t mix politics with music but we say bollocks to that if it needs saying then say it and Cabinet of Millionaires pull no punches as they say it as it is. With three mixes coming out early December to coincide with the election this should soundtrack everyone old enough to vote as they enter the room to put their cross on the ballot paper. No more austerity and Tory rule We’ll have some of that! Bandcamp
The 1865 – ‘John Browns Gat’ (Mass Appeal) NYC residents kick up a storm with their groove-heavy track. Taken from their forthcoming album ‘Don’t Tread On We’ there’s a tonne of attitude and punk happening here but it’s mixed with something altogether different siting Husker Du and Rage against the machine as influences will probably tell you nothing about where they’re coming from. Maybe not as hard-hitting as some of the other songs on the album its a brief glimpse into what they are about and Honeychild Coleman has a captivating vocal style. Check out ‘Get Out’ for a mash-up of styles in a very listenable sound. The 1865 have something to say so we suggest you listen up!
US glam rockers WILDSTREET have released their official music video for the new single ‘Three Way Ride‘, which is available NOW on all digital platforms.
Wildstreet began in 2006 and released their self-titled debut album in 2009 with Retrospect Records. The band spent the next 4 years touring nonstop and performing at US festivals including: Rocklahoma (5 consecutive years), SXSW and M3 Rock Festival. Wildstreet rocked alongside Black Veil Brides, Vains of Jenna, The Bouncing Souls, The Last Vegas, Twisted Sister, Michael Monroe, Crashdiet, Diemonds, Kix, LA Guns and more. The band won the Best Buy/Ernie Ball Battle of the Bands for Rockstar Energy’s Uproar Festival and opened for Avenged Sevenfold, Sevendust and Three Days Grace in Camden, NJ.
In 2011, the band released Wildstreet II..Faster..Louder! to widespread critical acclaim. They made an appearance on “The Jimmy Fallon Show” and their songs were licensed to TV shows on E!, MTV, VH1, Oxygen, TBS and in a THQ video game. Later that year, the band released the official music video for “Poison Kiss,” which included a cameo by Don Jameson of “That Metal Show.” Wildstreet now had the attention of rock fans worldwide. In 2012, the band released the single “Easy Does It,” and it’s official music video. The video went viral on YouTube. (Wildstreet has well-over 4 million views and nearly 8,000 subscribers on that platform).
After taking a 2 1/2 year break off and dodging rumors of a band breakup, Wildstreet exploded back onto the NYC scene in 2016, headlining Gramercy Theatre with new lineup. In early 2017, the band rocked NYC with Faster Pussycat and The Biters, while also heading to Rocklahoma for the 6th time.
The band began work on their single “Raise Hell” shortly after Rocklahoma. Released in December of 2017, it ushered in a new period for the band. They headlined Irving Plaza for their release party and were handpicked by Dorothy to open for her New York City tour date at The Bowery Ballroom. In February of 2018, the band released a lyric/concert video for “Raise Hell.” Wildstreet spent the remainder of 2018 in the studio recording, Wildstreet III. They performed regional tour dates/festival dates. Highlights include opening for Sebastian Bach and Escape The Fate. In March, the band sold out The Knitting Factory Brooklyn and then headed out on their first tour in Europe, playing 10 shows in Belgium, The Netherlands and Germany, including Sleaze Fest 2019 in Bochum, Germany. Upon returning to NYC, Wildstreet filmed the official music video for “Tennessee Cocaine.” In July, they headlined a sold out NYC show at Saint Vitus and headed out for a short West Coast tour which included stops at The Whisky-agogo and Great American Music Hall. The official music video and single for “Tennessee Cocaine” was released on all major digital and streaming platforms on August 23rd. It has 120,000 spotify streams and over 100,000 Youtube views.
WILDSTREET- Tennessee Cocaine
WILDSTREET – Raise Hell (Single)
WILDSTREET – Easy Does It (Single)
Official Music Videos:
For More Information Please Visit:
2019 has been another great year for punk rock releases, from The Hip Priests to Clowns, from Michael Monroe to The Volcanics all of these bands have released records more than worthy of scooping any number of coveted Album Of The Year tags, but this year for me one LP flying completely under the radar – and thus missing a review here on RPM at the time of its release back at the start of September – has knocked me bandy, more than any other. That album brothers and sisters is ‘Go To Hell Then Turn Left’, the long-overdue all-new studio record from German hardcore veterans Spermbirds.
Rewind to Hellfest 2018 and very early in the day on the Friday of the festival I finally got to see Spermbirds live, they totally owned the Warzone stage that day, no mean feat considering they were playing alongside the likes of Bad Religion, 7 Seconds and The Hard-Ons, but then when a band haven’t played the UK in God knows how long that makes finally seeing them seem all so much more special I guess, just like Gluecifer, a band also on the bill that same weekend and also stealing the show on the awesome Scando Sunday.
Actually for those of you who may not have heard Spermbirds before Gluecifer are as good a reference point to start as any, as this 13 track beast of a punk rock record has all the uber cool melodies of Biff Malibu’s mob at their White Jazz prime underpinned by the pent up anger that only 35 years’ experience of playing hardcore punk rock music across the world can bring.
Having suffered for my art with just a stream of ‘Go To Hell Then Turn Left’ to play for the best part of a month now I finally felt that the time was right to nail my colours to the mast regarding this record and see how many of you will suddenly be adding it to your Albums of The Year list too, because trust me when I say that nine years in the making, there is not a weak track on ‘Go To Hell Then Turn Left’.
Kicking off with the cough and splutter frenzied guitar driven onslaught of ‘Breathe Deep’ the band have never sounded more vital and when this track breaks into the album title track the you get to quickly realise that the Spermbirds can also still pen a catchy number to match any of their peers, and it’s here also that I’m wondering if Weab from Kid Klumsy might just be more of a fan of vocalist Lee Hollis than he’s letting on.
It’s almost impossible to pick standouts on an album packed full of them, but ‘Agent Nine’, ‘From This Direction Comes War’ and the explosive ‘Balancing Act’ are some of the finest tracks I’ve heard anywhere this year and just like with the ‘Black Door’ album by The Volcanics I mentioned in my intro. why it all works so well is simply because the band are doing this punk rock malarkey better than anyone else.
For those who remember the early days of the Spermbirds then the likes of ‘Bring Out The Snakes’, ‘I’m Not From Round Here’, ‘A Lot of Talk’ and ‘Thanks For Being Special’ will all have you all flipping your baseball cap and looking for your nearest skatepark whilst ‘If I Ever Find My Pants (Someone’s Gonna Die)’ has to be the best song title anywhere this year
‘Anything With An Engine’ is a song so brilliant it has to be the best Gluecifer song Gluecifer never wrote…. which just leaves ‘A Quarter Till The End Of The World’ to round off this total masterpiece of an album.
With no song breaking the 3:30 minute barrier all wrapped up in a production that will nail you to the wall, Spermbirds have achieved the almost impossible by releasing a perfect 10 album this late on in their career, then again there are some who will say they only ever release perfect 10 albums. Either way ‘Go To Hell Then Turn Left’ deserves to be heard by everyone, and if after this review you feel compelled to check out the record and then buy it…please pay this message forward!
Now, what about Spermbirds for Rebellion 2020 eh? The campaign starts here!!!!
Buy ‘Go To Hell then Turn Left’ Here
Author: Johnny Hayward
After an epic and well documented 45-year career that launched an era of rock n roll legends, KISS launched their final ever tour in 2019.
2019 saw sold out KISS shows across the globe with arguably the greatest KISS show ever! The initial tour announcement was met with huge fan demand for added shows, but the END OF ROAD TOUR will officially come to a close on July 21, 2021 at a NY location yet to be named.
KISS are delighted to announce further dates to their incredible END OF THE ROAD TOUR in June and July 2020, with more dates in Europe and South Africa announced today.
KISS will be offering VIP experiences and special KISS Army fan presales. VIP experiences may include a personal photo opportunity with the band, access to an exclusive pre-show lounge and a behind the scenes tour. Visit www.kissonline.comfor more information.
Known for their trademark larger-than-life blistering performances, KISS has proven for decades why they are hands down the most iconic live show in rock n roll. The Rock & Roll Hall of Famers, who have sold more than 100 million albums worldwide, have said this tour is devoted to the millions of KISS Army fans.
“All that we have built and all that we have conquered over the past four decades could never have happened without the millions of people worldwide who’ve filled clubs, arenas and stadiums over those years. This will be the ultimate celebration for those who’ve seen us and a last chance for those who haven’t. KISS Army, we’re saying goodbye on our final tour with our biggest show yet and we’ll go out the same way we came in… Unapologetic and Unstoppable,”said KISS.
KISS END OF THE ROAD 2020 European dates announced are below (newly announced dates in red including South Africa) –
Tuesday 9thJune 2020 Accors Hotel Arena, Paris FRANCE
Friday 12thJune 2020 Download Festival, Derby UNITED KINGDOM
Sunday 14thJune 2020 Westfalenhalle, Dortmund GERMANY
Monday 15thJune 2020 Barclaycard Arena, Hamburg GERMANY
Thursday 18thJune 2020 Copenhell Festival, Copenhagen DENMARK
Saturday 20thJune 2020 Osterhuis Arena, Sandnes NORWAY
Monday 29thJune 2020 Zalgiris Arena, Kaunas LITHUANIA
Wednesday 1stJuly 2020 O2 Arena, Prague CZECH REPUBLIC
Sunday 5thJuly 2020 Wizink Arena, Madrid SPAIN
Friday 10thJuly 2020 Festhalle, Frankfurt GERMANY
Saturday 11thJuly 2020 Schleyerhalle, Stuttgart GERMANY
Monday 13thJuly 2020 Arena Di Verona, Verona ITALY
Wednesday 15thJuly 2020 Arena Gliwice, Gliwice POLAND
Thursday 16thJuly 2020 Budapest Arena, Budapest HUNGARY
Saturday 18thJuly 2020 Armeec Arena, Sofia BULGARIA
Saturday 25thJuly 2020 Ticketpro Dome, Johannesburg SOUTH AFRICA
You’d be forgiven for wondering why it takes the Phobics so long to release records because while they may have been regularly hitting the stage (including trips to Ireland and Europe – luckily before Brexit potentially complicates matters), their recorded output has been a little less regular. In fact, Deptford’s finest punk band released their last album, ‘Deptford Calling’, back in 2011.
Finally, 8 years later, the London veterans return with their new record, ‘Burnt Rubber’. And for those wondering if it was worth the wait – it was. And then some.
Back in those halcyon days of Uber Rock, when it was a revolutionary website terrorising the visitor numbers of those shite classic rock websites we’d all become despondent with, I was given the privilege of mulling over the Phobics’ 2004 EP, ‘Down and Out in Deptford’. Since those scrappy recordings they’ve been on quite the upward trajectory.
From the off, ‘Burnt Rubber’ is a glorious success in punk rock and garage rollicking. Always with their finger on the pulse, the band set the story with opener, ‘Gentrification’. As London is bought and sold to the highest bidder – the soul being torn from Denmark Street particularly lamentable – this album is something of a soundtrack to this cultural decline. The ‘Hymn for the 12 Bar Dudes’ closes the record on a breeze of sadness.
This isn’t a sad set of songs though, and neither did I expect it to be. It’s a fun and raucous romp that moves on hugely from their 2011 effort. From the insanely catchy ‘Don’t Lay Your Flowers on my Grave’, to the bang on the money ‘Politics’, their latest release is delightfully enjoyable, excellently produced, and was all recorded in two half day sessions. Whether it’s ‘Path of Love’ or ‘She’s a Runaway’, the Phobics just don’t let up on this album. The Motorhead/Ramones adaptation of ‘P.H.O.B.I.C.S’ is also a nice touch.
‘Burnt Rubber’ is a record of true revolutionary punk rock style, the way it should be, and mixed with the hard groove of 60s garage. It’s loud and it’s angry, but it’s also laughing at all this nonsense we’re living in every day, and it’s probably laughing at you too.
Author: Craggy Collyde
With a movie documenting their incredible career and then the release of this their sixteenth Album (if you include the live records) even when they’ve not hit the giddy heights of the early vibrant releases Agnostic Front have always stayed true to themselves and their scene and always been honest and to be fair have always had absolute stone-cold bangers on their records.
I’ll be honest I’m a massive fan of Mirets records with the disasters they were amazing and Stigma did a couple of great solo albums but as Agnostic Front was where they always excelled. The Godfathers of hardcore are back and with ‘Get Loud!’ they’ve really come out swinging, an in-yer-face record that draws on everything the band have done previously and poured it all into this.
Fourteen songs of Agnostic Front doing what Agnostic Front does, In your face Hardcore – New York style. They were never going to stray from the blueprint that’s served the band so well through the ’80s and ’90s and beyond.
A name that is synonymous with a scene Agnostic Front are getting the props far and wide, and the way they unravel ‘Get Loud!’ reflects this and soundtracks a scene that’s as good and strong as it ever was. Forget the opener for a minute seeing as it was the lead track released because I think its the weakest on offer as ‘Anti Social’ and then the title track fuckin’ nail it as far as the crossover punk-metal hybrid goes and is vibrant and exciting. “Its time to get loud!” is about right, its not four to the floor heads down rage like a bastard its measured like a boxer whos taken stock for a couple of rounds and isn’t coming out swinging but taking a measured menacing approach but hold on to your pants because ‘Conquer And Divide’ is coming out swinging. Old School, fast as fuck, windmilling, gang vocals and a pulverising riff-a-rama that takes you to the edge then the pulverising breakdown. Agnostic Front flying the middle finger raging on the system and corrupt officialdom – stand in line folks Miret and Stigma are on it!
I’m loving ‘I Remember’ its Miret telling stories of brotherhood and plenty of AF chest-bumping and high fives and Stigma on the replies – A Monster track right there worth the cost of the album and some. If I ever found myself in a situation on a subway I’d want to hear some AF in my headphones and I’d like to think what would Roger and Vinny do?
The classic AF sound is here in an abundance they don’t sound like they’re trying too hard to please people other than themselves through the entire album, and the songwriting is exceptional, That heaviness is there for sure but it isn’t overwhelming and the attitude comes across louder and more in your face. I’m enjoying this album more than the last few albums over maybe a decade or more and I know its early on but even the first play this was screaming at me to turn it up and I found myself hitting repeat which I didn’t do on the last two albums for sure. As the album unfolds songs like ‘Urban Decay’ are on fire and their sub-two minutes is vibrant and marry that with some exceptional depths like those bass runs underlying the brutality of the song is excellent. But hold on because ‘Snitches Get Stitches’ is breathtaking I’m going to gather the kids around so we can Slamdance and have a circle pit in the front room #safespace and I can be the king of the pit without getting rolled.
Putting this up against the bands back catalogue says that this is a band still on the crest of a wave and riding high. Agnostic Front has made a record in 2019 that is everything as good as any record in their entire catalogue – bold words you might say. We might live in very different times from when they blew up in a scene on the lower east side in many ways things are better but globally it might be shittier times more dangerous times and the world needs bands like Agnostic Front pushing the boundaries asking questions and showing that brotherhood means something and is worth fighting for, there are thirty-five years poured into this record – thirty-five years of experiences – thirty-five years of owning a scene and often carrying it on their shoulders like a giant amongst other giants. Agnostic Front Get Loud! is a triumph and any band young (or old) looking to put out a hardcore album needs to hear this because this is how it’s done properly. Never accuse them of giving less than 100% simply because they don’t just Buy It!
Buy ‘Get Loud’ Here
Buy ‘The Godfathers Of Hardcore’ Here
Author: Dom Daley
L.A. GUNS sign to Golden Robot Records.
If there was a band synonymous with the infamous Sunset Strip it is L.A. GUNS. Born into a scene that will never be replicated, L.A. GUNS rode alongside Guns n’ Roses, Ratt, Poison, Quiet Riot and co. in one of the biggest movements in Music history! Golden Robot Records part of the Golden Robot Global Entertainment Group are extremely excited to announce the signing of Hollywood Rock Royalty L.A. GUNS! A new album L.A. GUNS 2020 will be released next year!
The band was formed in 1986 and signed with Polygram Records in 1987, recording their first album that summer. This first album, titled L.A. Guns, went on to sell over 1,000,000 copies giving the band its first platinum award. Tours with AC/DC, Iron Maiden and Def Leppard followed. A compilation of the videos made from this first album also earned the band a gold video award. L.A. Guns went into the studio to record their second album, Cocked and Loaded, in the spring of 1989. It was a hit right away with the release of “Rip and Tear” as the first single and video. “Never Enough” and “The Ballad of Jayne” followed, pushing the album toward platinum status once again. The video compilation from this album earned the band its second gold video award. A successful world tour followed. The band’s third album, Hollywood Vampires, was recorded in the fall of 1990. With the release of “Kiss My Love Goodbye” as the first single and video, and another successful world tour, the album gave L.A. GUNS its third platinum in a row.
Vicious Circle was released in early 1995 and was followed by another successful world tour. In 1999, L.A. Guns went into the studio to record a greatest hits package titled Black Beauties that also included five new songs written for the album. In 2001, the band released its sixth studio album, Man in the Moon and in 2002 their 7th Album Waking The Dead followed.
After a 2003 world tour to support Waking the Dead, L.A. GUNS recorded Rips The Covers Off with producer Andy Johns. This was a collection of 70’s rock songs. L.A. GUNS began work on TALES FROM THE STRIP and it was released in August 2005. It received some stellar reviews and critical acclaim. A live CD, Loud and Dangerous, was released late August 2006 with the band again supporting it with a world tour.
In November 2011 the band signed their latest record deal with Cleopatra Records, releasing their tenth studio album Hollywood Forever in June 2012. The album was produced once again by veteran music producer, Andy Johns. The new record debuted at #25 on the Billboard Rock charts with the title track “Hollywood Forever”, and it was considered one of the best Hard Rock albums of 2012 by fans and critics alike, proving once again that L.A. GUNS were on top of their game with tracks like “You Better Not Love Me” and “Sweet Mystery”.
Now after some down time, the band has been reborn with the return of Kelly Nickels on bass, Steve Riley on drums, Scotty Griffin on guitar and Kurt Frohlich on lead vocals and guitar.
With more than 30 years’ worth of noteworthy material, the band have proved to be true warriors of the 80’s genre and are geared to tear it up across the world giving audiences the high-octane Rock-n-Roll that is L.A. GUNS. Welcome to the Golden Robot Family!