You really cannot underestimate the importance of Jane’s Addiction to music fans who – at the time of the release the band’s self-released debut live LP – were looking for an alternative to the brainless drivel major record labels were pumping out in the name of hard rock/heavy metal. I myself was lucky enough to be swept up in the largely underground hype surrounding the band towards the tail end of the ‘80s, and whilst I cannot claim to have seen them live on their debut UK tour – and not many can – I was lucky enough to ride the live waves of joy they were generating by the time they had released ‘Ritual de lo habitual’, and that those shows still loom large with me to this very day should be enough for you to understand just how much of a game changer that band really was.

Initially splitting up just as grunge took over the world Jane’s Addiction in many ways became like The Velvet Underground of that scene, and in their singer Perry Farrell, I guess you had the scene’s very own Lou Reed. Albeit without his critical or commercial success, which means a lot of what is contained within this soon to be released ‘The Glitz; The Glamour’ box set might in fact be new material to the more casual listener.

Celebrating the mercurial talents of the self-styled Godfather of Alternative Rock, ‘The Glitz; The Glamour’ then is a 68 track collection of Perry Farrell’s work outside of Jane’s Addiction and Porno For Pyros spread across a 6 CD/Blu-ray and an indie shop exclusive 9 LP/Blu-ray box set, that is a perfectly timed release with Christmas looming large on the horizon.

Let’s face it, with 2020 being the shitshow it has turned out to be we all need something to make us smile right now, and ‘The Glitz; The Glamour’ might just be the thing to make it happen.

Kicking things off with a 5 track EP from Farrell’s pre-Jane’s Addiction band PSI Com, this set is what many will be after in this collection. it’s an engaging glimpse into the life of the young artiste, formed very much in the image of UK post-punk bands like Killing Joke and Public Image, and what’s perhaps most striking is that Farrell himself was already singing in the style he would largely go onto become renowned for in Jane’s Addiction, this is especially prevalent on the likes of ‘Xiola’ where his banshee screams were already waking the dead.

2001’s ‘Song Yet To Be Sung’ is Farrell’s first solo album proper and is a huge shift for him musically, being heavily influenced by the UK drum and bass scene it actually has a kind of Daniel Lanois producing ‘Earthling’ era Bowie feel about it and as such I found myself completely absorbed by its depth and the eclectic nature, especially on tracks like ‘Did You Forget’, ‘King Z’ and ‘Say Something’ which literally bristle with creative electricity.

By contrast, if ‘Song Yet To Be Sung’ was Farrell at his most introspective 2019’s nine track ‘Kind Heaven’ sounds like the soundtrack to kind of party David Lee Roth was renowned for throwing around the time he launched his solo band. Opening track ‘(Red White and Blue) Cheerfulness perfectly summing up Farrell’s joyful intentions for the record in two minutes and 20 seconds flat. There’s no time for self-examination on this record and the heavy involvement of his wife Etty Lau seems to keep the mood of the record very much upbeat. It’s a truly wonderful musical surprise if you’ve yet to hear it.

Sandwiched in between these solo albums was of course Satellite Party, the musical collective Farrell formed with Etty Lau that also featured the likes of Nuno Bettencourt, John Frusciante, Flea, Peter Hook, and Kevin Figueiredo on their one album ‘Ultra Payloaded’ originally released back in 2007. At the time I remember really enjoying this album as it provided a fresh perspective on the voice behind Jane’s Addiction and after their excellent reunion album ‘Strays’ it also kind of gave a glimpse of the more commercial sound the band would follow on 2011’s much-maligned ‘The Great Escape Artist’ opus.  Listening to ‘Ultra Payloaded’ 13 years later the likes of ‘Only Love, Let’s Celebrate’, ‘Kinky’ and ‘Mr. Sunshine’ have me dancing along to a kind of Sly & The Family Stone at the Hacienda groove and there’s a riot going on that’s for sure.

Which rather neatly leads me to the disc of Farrell/Satellite Party tracks remixed and re-imaged by the likes of UNCKLE, Groove Armada, Booka Shade, and a whole lot more besides and also includes Farrell’s dancefloor collaboration with The Avalanches on the ultra-funky ‘Oh The Sunn!’. It’s the ideal soundtrack for driving around town in your Corsa late at night, but eleven tracks of this for the more casual/rock-orientated listener might prove a little bit too much for them to stomach.

Very much more back at the end of the rock end of the spectrum though are the eight tracks contained on the disc of B-sides, where the likes of Starcrawler get to share some studio time with their hero on the feral ‘Turn Over The World’, the two previously unreleased tracks from ‘Rev’ get another day in the sun and ‘Cling To Life’ (recorded with the Kind Heaven Orchestra) once again has me thinking that the Farallels between our once dreadlocked anti-hero and the big band loving solo years of David Lee Roth might be even closer than I alluded to earlier.

With only a stream of this mighty box set on which to base this review I, unfortunately, can’t shed any light of what the ‘Kind Heaven’ record mixed in Dolby Atmos along with three new Atmos tracks from the remix record actually sound like, or in fact what the photographic memoirs hardback book or Zoltan prints aesthetically add to the package, but from what I have heard this really is an essential purchase for any die-hard fan of Perry Farrell’s music outside of Jane’s Addiction and Porno For Pyros.

Oh! ‘The Glitz; The Glamour’ – this is one box set I really do need in my collection.

Buy Perry Farrell – ‘The Glitz; The Glamour’ Here

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Author: Johnny Hayward

 

The Last Internationale

Announce New Live Record ‘Live At Arda Recorders’

Re-Schedule UK Headline Tour Dates Announced October 2021 

The Last Internationale announce the release of their new live record ‘Live At Arda Recorders’ on 18thDecember 2020. Re-scheduled UK Headline Tour dates in October 2021. The process of recording the album was captured for a behind the scenes and live documentary. For this release The Last Internationale recorded with good friends from the French electro rock band Shaka Ponk: Ion Meunier, on drums, Mandris Da Cruz on Bass and Steve Desgarceaux on Keys.

Pre-Order HERE

Known for their live performances The Last Internationale’s new record ‘Live At Arda Recorders’ captures both the groups explosive and intense live style but also allowing the audience to feel the soulful blues roots that run deep through their sound.

Whilst the album explores a more intimate setting for the group it never shies away from the gritty, rough around the edges and heavy traits synonymous with their 2019 album ‘Soul On Fire’ which showed a song-writing evolution towards a more complex, full-bodied sound; that truly reflects the band’s musical and personal growth.

2019 was a standout year for The Last Internationale, they released their second studio album the critically acclaimed ‘Soul On Fire’, performed a host of sold out headline shows across Europe and in addition to this appeared as special guest to the legendary UK rockers The Cult and California rock outfit Rival Sons.

Today the group drop the first single and video from the up and coming record with the groove driven track ‘Try Me’The band comments: For this record, what we wanted to do was bring the live stage energy into the studio. We want people to get the full experience of a TLI show and the team at Arda were instrumental in helping us perfectly blend our rock, blues, hip-hop, and folk influences into a perfect colourful bleeding spectrum of soft dynamics to a full sonic assault. When we mixed it, we’d take the song into the car and if the speakers weren’t kicking air into our legs or the doors rattling, we’d send it back for another revision. When we were told “it’s too much,” we’d always ask for more. The result is that NY boom-bap without the use of triggers or samples. It’s raw, it’s imperfect, it’s perfect, it’s… live. No overdubs (except the backing vocals because the backup singers failed to show up), no stacking guitars, no labouring over parts. We just plugged in and played. So turn it up, close your eyes, scream your lungs out, and pretend you’re at a live show until this damn pandemic is finally over. See you soon, in the flesh.” 

The Last Internationale – ‘Live At Arda Recorders’ Pre-Order HERE

Festival Shows – 2021

Tue 1stJune – Acoustic show Stourport (Festival Warm Up Intimate Show)
Fri 4thJune – Nova Rock, Austria
Sun 6thJune – Download Festival, UK
Wed 7thJuly – Mad Cool Festival, Spain

UK Headline Tour – 2021
Tue 1st June – Acoustic show Stourport (UK)
Sat 23rd Oct – Night People, Manchester (UK)
Sun 24th Oct – Exchange, Bristol (UK)
Mon 25th Oct – Brudenell Social Club, Leeds (UK)
Tue 26th Oct – Stereo, Glasgow (UK)
Wed 27th Oct – Hare & Hounds, Birmingham (UK)
Thu 28th Oct – 100 Club, London (UK)

Get Your Tickets – Here

For more information on The Last Internationale please visit: Website / Twitter / Facebook / Instagram

There’s an Elephant in the room.  Nah not the fact that this second album from The Dirty Strangers has guest slots from some Rolling Stones and also a tune co-written by Keif Richards but the fact that Alan Clayton has always been a top Rock and Roll songwriter and churned out albeit infrequent albums but they’ve always been a bit bloody good, regardless of who’s playing on them.

Oh, and to be fair most of us did arrive at the party due to the association with a couple of six-string slingers who also have a penchant for churning out the odd decent album Keif and Ronnie or something like that.

Imagine you could pick up all the good and the great from the 60s, 70s and 80s Rock n Roll that ever stumbled around Carnaby Street or one of the dive bars in Soho and as you hoovered it all up (and remembered to take note or almost remember) then you put it to music well that’s the sound of the Dirty Strangers that is with some added thunderbird mouthwash for good measure and a sprinkling of super talented mates.

Alan Clayton is joined for the last time by this impressive line up consisting of the super talented Paul Fox, ‘Steady’ Ray King on Bass Guitar, Mark Harrison  Drums & Backing VOX, Scott Mulvey on Keys & Backing VOX, and the impressive Angie Brown on guest vocals.  Now seems like as good a time as any to give this bad boy a re-release and for me to give this album a leg up.

The keyboards swirl and then Clayton’s instantly recognisable drawl enters the fray.’The Biggest Mouth’ is a foot-stomping rock and roller.  Of course, it’s not original and it might even be dated with the production and arrangement but hell, it’s only Rock and Roll and I like it.

 

‘Party 4 2’ is exactly that, it’s a party for two dancing through your speakers.  Then a track was co-written by a certain Mr. Richards that Boogie Woogies into the ether has me wondering how 1993 missed this album first time around.  I blame the lame music press for only being interested in gazing at its collective shoes whilst wigging out on churned up long solos from Soundgarden or self-harming over Nirvana whilst over there Clayton and his muckers were kicking up a shitstorm in the name of a good time and supplying all the toons it would seem.

It wasn’t all twelve-bar parties you know they were rivalling anything the Quireboys might have had in the locker at the time as ‘High Heels And Hangovers’ is swinging from the chandeliers with style and when the time was right Clayton could slow things down like The Faces did like on the majestic ‘Only For You’ with its false starts and laid back finger work from Fox.  It also has some fine vocal arrangments and a killer delivery but the Ian Maclagan like touch on those keys is a game-changer and adds a tonne of class to proceedings.  superb song!

 

No time like after a masterclass in balladeering to smash it up with some good old Rock and Roll as ‘Special Girl’ has a whole bunch of attitude and swagger.  Songs like ‘Got To Know Her’ are easily as good as some of the better songs Ian Hunter was rocking up with his ‘Dirty Laundry’  and his Rant Band. Before we finish there’s always time for some acoustic pickings and ‘The Gamblers Song’ provides the service and had this been a Frankie Miller song or dare I say it Stones song it would have been a smash.  It could have broken out with the big drum fill but it doesn’t – its more restrained than that and that’s the difference in class you’ve either got it or you ain’t and on this occasion, The Dirty Strangers are dripping in class.

With time for a couple more Rockers before this party gets shut down it seems as good a time as any to pay this a visit.  If you are a dreamer always looking for that Rock and Roll fix then you can stop looking because I can point you in the right direction for a good time.  The Dirty Strangers ‘Burn The Bubble’ is a long lost classic with variety and class just waiting for you to come along and bring a bottle.

Buy ‘Burn The Bubble’ Here

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Author: Dom Daley

Born in the winter of 1976 along side the Ramones’ first album and the Damned’s New Rose. Jiffy Marx has toured all over North America and Europe with a kitchen sink of bands such as Black Rice, Blood Meridian, Hard Drugs, Jiffy Marker and most recently Canadian new wave revivalists Autogramm. On hiatus from touring and while chipping away at Autogramm’s sophomore album, Marx took a weekend to visit his pals from Seattle’s Bread & Butter. Over the course of 36 hours they managed to drink a shit load of beer, eat a ton of peanut butter pretzels, and track Jiffy’s first solo 45rpm single.

There are 50 limited picture sleeve edition 7″s available through the band, the label, and Green Noise Records until they sell out!

 

This is Andy Guttercat’s 1st Solo release, since leaving The Guttercats. Enjoy ‘Two Faced People’. The song is available to purchase: Bandcamp /  Apple /  Spotify /  Amazon

Finally for something completely different we bring you Lyoness with the new single ‘Vulture & The Snake’

You can follow the band here… Facebook /  Instagram / Twitter

The re-release of this overlooked early noughties debut, that wouldn’t look out of place alongside the rougher more streetwise garage rock that littered the era, imagine Eighties Matchbox after the acid trip or Black Rebel Motorcycle Club if they were inclined to get into more bar fights.
The Los Angeles group certainly know their stuff, this record is a brutal melting pot of garage, psych and cow punk from the getgo. ‘Too far down’ kicks off the affair with a classic psychobilly rhythm and vocals full of hypnotic drones. ‘She’s trouble’ lives up to it’s mantra with savage Cramps style guitar lines but with a pumped up bass line laced with steroids.
The album ticks all the boxes for me like a winning bingo card, the guitars are scuzzy, the organ sounds are plentiful and the only real downer is that some of the songs pass by too quickly but there is the real genius where it leaves you wanting more!
Whether you are a revival fan of the genres represented here or a sixties purist it’s hard to deny that this is a treasure trove of Nuggets from any era. If you’re like me and this debut is a new discovery for you, make up for lost time and get it on heavy rotation straight away.
Buy The Guilty Hearts Here
Author: Dan Kasm

Way back in the early 2000s, Steve Pegrum launched a website like many others charting the family tree of Punk Rock in his localities.  (www.southendpunk.com). There was a similar one here for South Wales bands that was fantastic but I’m sure there were loads cropping up as punks got tech-savvy.

 

With Southend being a mere stones throw from the epicentre of the UK Punk scene in London. It was easy to see how the scene grew quickly and way before mobile phones and 24hr news it was accessible. This CD is ground zero with Volume One being the giveaway as every stone gets turned.  Its fourteen tracks of original material plus a veritable feast of a booklet with a short but succinct summary of the band and the song which makes for a great read.  Shame its just the CD and not a record with a big book to accompany it for those who now have to wear readers.

The styles are varied ranging from kids who clearly haven’t had their instruments long but are quick learners and enthusiastic participators like the opening ‘You Better Hear’ from The Machines it’s snotty and vibrant and took the band all the way to the epicentre and shows at the Vortex and Roxy.

You also have the more Pub Rock, power Pop end of the spectrum with the excellent Steve Hooker Band. Interestingly at number three on the running order and clearly inspired by those Banshees sees Alison Moyet kick out ‘Radio Roy’ in fine style and a decent demo it is too.

 

The next few tracks were assured are ultra-rare recordings from the Deciballs with their Snotty ‘Solitary’. The Psychopaths do ‘Drugs’ and you have to love the timing issues with something more akin to the Buzzcocks.  One of the best songs on display might be one of the poorest recordings but that’s understandable due to the time-lapse and it was probably taken from a C60 – The Shocks playing with a fantastic exuberance on ‘Too Close For Comfort’.

The Bullies go for a more sophisticated sound and build into the song with some skank on the verse ‘The Fighting Continues’ is a decent song and might have been riding the curve from Strummer and his mob. with a decent arrangement and quite an intricate solo for its time.  short-lived as were most of the bands at this furtive time.

Back to the more aggressive bosh of The Icons and their ‘5.15’ before the crustie punx wade in as The Sinyx are up first and its not hard to see their Crass style but they make way for the more aggressive ‘Blind People’ from The Kronstadt Uprising’.

Allegiance To No One dared to incorporate a synth into their armoury like Joy Division did or Tubeway Army even.  A band who obviously saw a bigger picture than a lot of their contemporaries. You have to love the energy of Burning Idols who clearly had a lot of love for The Clash with ‘Give Me A Chance’.

By now we’re well into the ’80s and production clearly has improved from the DIY demos of the late ’70s. The Prey had ‘Sleepless Nights’ which has a familiar melody and I like it. They’d had time to absorb all that had gone on in the previous decade and make use of what they’d taken on board and clearly penned a decent song.

 

Wrapping this compilation up are the Armless Teddies (who knows why?) but they had clearly spent the early ’80s becoming one with the Damneds back catalogue of the Algy Ward years and beyond as ‘Serenade’ dared to dream with the keyboards and acoustic guitars and the build isn’t a million miles away from Smash it up pt 1  and bits and bobs off ‘The Black Album’ good on em I say shame there’s no vocals though but hey maybe on Volume Two.

 

Sarfend I salute you and Steve for his obvious love for the scene that was Southend that clearly painted a rich tapestry judging by the songs on this very enjoyable compilation.

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Author: Dom Daley

Once upon a time, it was cool to be a full-tilt Rock and Roll band and get in a van with your mates and drive around continents plugging in goofin’ round and playing it like your life depended on it night after night putting in the hard yards – earning those Rock and Roll stripes without much fuss just doin’ it because you had to it where your heart was taking you for little reward except to find like-minded people around this globe digging what it was you were playing and the records you were writing and releasing.  Well, guess what.  It’s still cool and those guys who were in the trenches back then are still in the trenches fighting for their cause in the name of entertainment some Brothers fell by the wayside like The Dragons but some kept at it and still have records coming out like the recent ‘Live At The Pic’ set on Yeah Right! Records so I thought Id give CC a call and find out what it was like playing in cool rock and roll band and let him tell the story of The Spitfires.  So here goes folks sit back relax and enjoy…

 

Tell us about The Spitfires how did the band come about where did you guys meet?

The original line up of the band grew up in the ‘burbs outside of Vancouver. We’d been jamming for a couple years under different names, not being very serious about anything. Being from a small town, anyone who had an instrument, or a place to jam, was someone you knew. The later members were friends we made in Vancouver.

 

 

That debut CD how did it come about?

 

C.C. We had a record finished and ready to release with Vancouver’s Mint Records before they suddenly dropped us. I think we were too trashy for them. I sent around the recordings (on cassette tape and in the mail!) to a bunch of labels I’d seen in Maximum Rock ‘n’ Roll or Flipside. Mike at Sonic Swirl in Cleveland loved it, and he had released some stuff from Jason Solyom’s other garage rock band, The Fiends. Somehow Brian at TSB in Scotland got a hold of the album too, and he released the UK/Euro version.

 

Was the late 90s a good time for Rock and Roll bands in your district?  Who else was out at the time? That you’d meet on the road?

Yeah, it was a blast. We had a really amazing group of friends up and down the West Coast. The Dragons, Murder City Devils, Humpers, Black Halo, Catheters etc. We’d gone to NYC a few times and never really made any tight friends. In Columbus we had the New Bomb Turks, and up in Montreal and Toronto we had The Spaceshits and The Deadly Snakes. It was a fun time. People made phone calls to book tours, and connect with people. We’d drive into some new city and hope the promoter would pick up the phone. Otherwise we’d sometimes be stuck at a coin phone at some gas station. Compton was a particularly interesting gas station phone booth to wait at.

 

What bands were inspiring you guys at the time?

We were really into Crypt Records bands and Sympathy for the Record Industry. A lot of the “Glunk Punk” as Eric Davidson would later coin it. But we were all suburban kids, who weren’t afraid to say we liked Alice Cooper, Kiss, Aerosmith and all the other great arena rock bands of our youth.

 

You managed to get Junk to press the new album on Vinyl.  That must have been so uncool at the time hardly anyone was pressing vinyl at the time what kinda deal were labels like Junk offering at the time was there the opportunity to hit Europe on tour?

Haha, that’s a different perspective. Over here vinyl was totally cool at that time, at least with the scene we were in. Labels like Junk, Estrus, Sympathy, Crypt, were all putting out loads of good stuff. On CD too of course, but we had been hoping to get some real vinyl out. It was actually Estrus who put out our first vinyl single, “Cut Me Some Slack”. Junk was a really good label at the time. Lou Carus, the owner, was working as an engineer with Boeing. I’m pretty sure he spent every penny he earned on his bands. He’s still a really good friend, and every time I’m in California I make sure to see him. Junk was a sub label to Nitro at the time, so we really had great press and distribution. We didn’t get to Europe until the third album though.

 

Who decided on the third album title?  I guess you were firing on all cylinders at the time? You also added a second guitarist.  What was the reason for that?  and by the time you made it back into the studio, you were back to a four-piece for the ‘Aim Low’ album.

I think that “Three” was a band decision? We love classic rock, and that seemed like a cool classic rock kind of thing to do. And yeah, we were on fire at that time. We did add Dave Paterson for that album, who was a lot of fun and a great player, but he only lasted a year. We replaced him with Jay Millette from the Black Halos, because Rich had just quit their band and moved to L.A.. “Aim Low” was a few years after the band had actually broken up. Jay Millette wasn’t in the band by then, he had moved to Toronto. It was actually a 5-piece recording with Marcel LaFluer and Deano on guitars. Deano, the last of the originals besides me and Solyom, was still in the band but he quit after the recording. That’s when Graham Tuson joined. We recorded a few songs with that line-up that are still in the vaults.

 

Did you ever get any heat from other bands called the Spitfires?

Good question. At the time that we started we had found out that “Pooch” from Flipside Magazine had a band in L.A. called the Spitfires. So I wrote him a letter and sent a demo tape. I said we’d happily chnge the name if they wanted us to. He wrote back to say, in fact, they would change their name! They became The Condors, and I’ve remained friends with Pooch to this day.

 

What were some of the tours like?

That’s funny, Marty (drummer) and I were talking about this just the other day. I’ve forgotten a lot of the stuff we did. We were a rolling disaster. I mean, we had a lot of fun, but I wouldn’t be able to tell my colleagues at work any of those stories! Haha. One of my best memories though was the U.K. tour we did in 2002. We had so much fun and so many laughs. The highlight was playing the Astoria in London with the Rezillos! We also played the Dirty Water Club which was packed and super fun.

 

What with hindsight was the best Spitfires album?

I’m partial to “Three”. I think the production and songs are really the best we had. Howard Redekopp recorded and produced it at a really great studio (Mushroom RIP), and that made a big difference. A lot of people thought we had recorded that on Pro Tools (which people thought was lame at the time) but it’s all analogue 24 channel board to 2-inch tape.

 

 

 

 

On the Yeah right! Bandcamp page they say to hide the fire extinguisher.  Care to expand?

Well, this goes back to The Dirty Water Club in London. We had set an extinguisher off on stage, and it was awesome. Looked totally cool and it was a mellow shot of water that misted the whole room. But when we did it at the Horseshoe, it ruined our career and got us banned in Toronto. The build-up to the ban in Toronto was signing on with a bigwig agent, Ralph James at the Agency Group and touring with the Headstones (and getting them back on the sauce). When our agent got us a show at the Horseshoe Tavern for Canadian Music Week we were blown away. Then we ended up being Now Magazine’s pick of the week and headlining the show with Robbie Robertson, Chad Kroeger, Brittany Murphy, etc. in attendance. Ralph was fast tracking us at the time. Then our singer shot off a chemical fire extinguisher on stage which choked the crowd and created a panic and rush to the exit. This was shortly after the Great White fire in Rhode Island, so people were on edge. Anyway, it effectively ruined our career and probably rightly so! haha.

Who’s idea was the ‘Live at the Pic’ album? just released after some 17 years,  It’s a bit tasty.  How well did it capture the band live?  Recorded in 2003 the line up had two guitars again, did the dynamic change when the band went from 4 to 5? What memorable shows stand out and why? Was the pic a one-off show for the recording or were you recording shows most nights and this is the pic(K)  sorry couldn’t resist it 🙂

The album has been sitting collecting (digital) dust for more than 17 years now! It was the pinnacle of our career I’d say. We were totally on fire, and this might be the only recording that truly captures what the band sounded like. It was recorded by Howard Redekopp before he became well known (Tegan and Sara, Mother Mother, New Pornographers). The live footage that will accompany it was shot by Danny Nowack and his crew (Hard Core Logo etc.), so there’s some Canadiana there. The video was lost in our Jason’s basement until this spring! It is, however, not just a digital release. Yeah Right! Records is releasing the vinyl LP before Xmas this year!

 

When you hit the UK for some shows how did that come about?

That was through the help of Brian at TSB records in Scotland. He hooked it up with Ian at Hidden Talent over in the UK who booked everything and set up the gear/van/driver. Unfortunately, it was The Spitfires only trip off the North American continent. Our other bands have all toured Europe, but we never quite managed. It was an incredible tour tough, and we loved it. We got as far North as Glasgow and as far South as Brighton. Met a load of great people. Mark (RIP) up in Nottingham, Baz and the Punker Bunker, Dave Kerr and the Chery Kicks up in Scotland at the time. It was so fun.

 

 

Neil Leyton tried hard to put on a few tours of these shores for bands like The Pariahs as well as his own band.  How cool was the scene back where you are because of all the Canadian bands I saw him bring over they were all excellent and there has always been a really healthy underground that I’ve been aware of especially power pop and alternative rock n roll bands.  Is it still a cool place for bands and shows?

Yeah, it’s a cold country, what else are we gonna do? Haha. I think there are probably a few advantages we have here like Sweden, with a good education system that supports arts and music, as well as government assistance programs to support and develop Canadian talent. Which translates into free money for wild rock and rollers to take expensive trips around the world. You’re right though, this last decade has seen a hell of a lot of great Canadian music from all genres.

What’s next for the Spitfires post-pandemic?

There’s still all that new and unreleased stuff we recorded in 2009 sitting in Jason’s basement. At this rate we’ll have a new album done by 2030 hopefully!

 

You guys will win the record for the most bands within a band tell us about some of the projects you guys are working on that you think the readers should check out??

I really like the Dysnea Boys stuff I did while living in Berlin, but I’m in a New Wave/Power Pop trio now called Autogramm. I’m also working on an album with Rich Jones (Michael Monroe/Loyalties/Black Halos) called “Dangercans”. It’s an epic project that I hope we actually finish. Jason Solyom is drumming and mixing the record too. Jason is in a great 70’s inspired boogie rock band called La Chinga. They’ve done a bunch of touring. Jay Millette in the reformed Black Halos (who I am managing!) and recording his own solo stuff under the name Silver Receiver. Jay Solyom also has a recording studio and Graham has also been recording a bunch of new stuff. Shock, the newest Spitfire, has a band going called The Slip Ons.

 

Buy ‘Live At The Pic’ Here

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Author: Dom Daley

The Midlands, Home to England’s second city, and a stone’s throw from London yet far enough away from all the Capitol city’s dramas and egos.  From an outsider’s perspective it’s a grounded part of the world yet a hotbed of talent always has and always will be.

It’s the home of Thee Acid Tongue featuring members of Fuckdust 4 and Skanks as well as a drongo and a Maximum Rock and Roller. As soon as the music hits the air they sure as hell rattle and roll my speakers as the full audio assault of Thee Acid Tongue hits you square on the jaw.

The dual guitar assault of Ohms and Mauronik is like a snarling dog straining at the leash but in order to be so ferocious, the rhythm section of Tracey Skarzynska on Bass and Steve Gameson on drums are the B2 bombers carpet-bombing their rhythms at the low end leaving Tommy Farrell the freedom to sing over the top.

The second ‘Lake Of Tears’ leaps into the ether the track sees the band boogie at volume and already you’re punching the air and joining in with those gang vocals. But hold on to your hat because the band is just settling into their groove as ‘Get Some’ brawls its way through before ’36 Needles’ pokes its dirty Rock n Roll into proceedings.

Sounding like a thunderous cousin to Sorry & The Sinatras or the bastard children of Lemmy and Charlie Harper at the peak of their powers Thee Acid Tongue clearly has a knack for penning great melodic loud Rock and Roll songs and that’s a fine art, It’s one of those things you either have it or you don’t and never will. It’s just a gift that is way beyond a lot of bands but not it would seem Thee Acid Tongue who have it in spades.

They then borrow a few absolute, stone-cold bangers from the ghost of Fuckdust 4 as ‘Radio’ paves the way for ‘Lorraine’ to strut into the ether and what was or is one of the finest Rock and Roll tunes to break out of the underground in many a year has gotten herself a lovely makeover,  and if I might be so bold it seems to have benefitted from the surgery with a wonderful solo and backing vocals to die for (ok maybe not die for but you get the picture) Damn, I can’t get the melody out of my head and now I’ve managed to piss off the kids, the wife and half the street they’re probably wondering who the fuck Lorraine is.  If only they knew they’d be dancing too.

‘Monkey At Sea’ has the benefit of some fantastic Bass bomb drops and the Hanoi Rocks breakdown is fanfuckintastic!  If you thought this album couldn’t get any better then wait for the Motorhead chug of ‘Bullets’.  With all these lockdowns and constantly being kicked in the knackers by lying politicians everywhere you look I wanted an album to grab me by the throat and kick me up the backside and by jove Thee Acid Tongue have gone and given me that shot of energy.

Man I’m already at the adrenalin ride of ‘Blood, Sex & Alcohol’ and there’s only ‘Nun With A Gun’ which is like The Beastie Boys if they cut their teeth in Edwards Number 8 and played three and in in Walsall rather than rapping in Queens and shooting hoops.

 

I love Rock and Roll when it’s loud, fast and a little bit grubby and it makes me smile because the writers have obviously grown up on the same tunes as me and have had the skills to Rock and Roll them onto a record or CD. Me,  I’m going back to the replay button and I’m going in for some more and then some more again.  When all this virus stuff has gone I’m gonna go see these good people and buy em a beer and sing along to their tunes because they bloody well deserve it.  Excellent album, Buy It!

Buy Thee Acid Tongue Here

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Author: Dom Daley

 

Wow has it really been 20 years since Brody and her band The Distillers unleashed their seminal debut album on the world.

Well believe it or not it has and what we have here is a freshly remastered version which sounds fantastic so now is as good a time as any to take a look back on this stunning piece of music.

The album starts off with the snotty punk of “Oh Serena” and man does this remaster sound good with the rhythm section of Mat Young and Kim ‘Chi’ Fuelleman sounding thunderous and Brody’s and Caspers guitars thrashing away.  This ladies and gentlemen is how to start an album off,  what a bang.

“Idoless” is up next and Brody’s rip snarling vocal sounds magnificent and yet again we are treated to a full-on wall of sound.

“The world comes tumblin’ has always been this reviewer’s personal favorite and it’s great hearing it so fresh and that riff mixed with that voice is heavenly.

“L.A. Girl”  and “Distilla Truant” are both great upbeat numbers and the pace doesn’t slow down for a second.

The cover version of the Patti Smith song “Ask the angels” sees Brody makes it her own and what I like about this song is the way Brody approaches the vocal as this song is a bit slower than the ones that come before this shows what a beautiful powerful melodic voice she does possess.

“Oldscratch” is just under a minute of pure punk rock frenzy. “Girlfixer” is another short track that is just over a minute and sees Kim taking the lead vocal while Brody handles the chorus and is a great number.  “Open Sky” starts off slow before the band kicks into a high octane thrasher with a great bass solo in the middle.

One of my personal favourites off this album is “Red carpet and rebellion” as I just love the chorus and pounding drums on this track. Saying that its such a strong album the likes of “Colossus U.S.A.” and “Blackheart” are so strong tracks they keep the quality of this album at a high until the end.

“Gypsy rose lee” is just a masterpiece of a song with a beautiful melodic opening before it picks up the pace and this track just has a fantastic melody. The album closes with “The Blackest years” and is a great track to bring this statement of intent to a blistering finish.

All in all this remastered reissue is an essential purchase as it sounds amazing and fresh but doesn’t lose the power of the original.

Buy ‘The Distillers’ Here
Author: Gareth ‘Hotshot’ Hooper

York based indie rock desperados Hello Operator formed while still at school over a mutual love of Queens Of The Stone Age, The Black Keys and Arctic Monkeys. In the six years since their formation the four-piece band have toured heavily, including appearances at such famed festivals as the Isle Of White and Reading & Leeds fest. Their debut single ‘Stephanie’ was championed by Radio 1’s Greg James and Frank Carter. Following a steady slew of single and EP releases, the band finally unleash their self-titled debut album on an unsuspecting world.

Featuring five past singles that I am aware of, it is no surprise that there is an instant familiarity on first listen. But what I wasn’t prepared for, was how hard these boys rock! Don’t be fooled by the bands indie rock leanings, as I am happy to report ‘Hello Operator’ is a full-blown monster of an album. With fuzzed up guitars, booming bass and pummeling drums that have the combined power to dislodge your spleen from the stomach, the band create a desert rock wasteland for main songwriter and singer Max Dalton to croon over until the cats come home.

Following radio interference and feedback, ‘Decimator’ gets things off to a raucous start. Fuzzy, Josh Homme inspired riffage courtesy of guitarist Peter Greenwood, the powerhouse rhythm section of Sam Dalton (bass) and Eddy Ellison (drums) and Max’s ultra-cool falsetto hook, combine with definite Arctic Monkeys influences to create a beast of an album opener blasting off at 3 minutes and 33 seconds.

Of the already released singles there is much to enjoy. ‘I Created A Monster’ takes a bluesy, Tarantino-esque vibe and runs with it. A cool bass line and solid drums lead us through a tale of creating a lady Frankenstein who lives in a dumpster or something, while Max delivers a cool, memorable chorus and Pete matches the intense rising beats with frantic riffage.

‘King Solomon’ sees the band stomp a heavy leather boot in yer face, with Jack White harmonised guitar lines and a killer chorus refrain. Elsewhere, ‘Reeperbahn’ sees the boys cruise down an 80’s new wave influenced highway. With a driving beat and a killer vocal hook that imbeds in the brain, this is a quality single release. (It’s also worth hunting down the various dance remixes available online that just add to the diversity of this band).

The regimental beats and Liam Gallagher style whine of ‘King Of Ruin’ hits the spot. The alternative 90’s feel at the fore, it comes on like Oasis raging against the machine. Is that a thing? Well, it is now!

 

But there’s one particular song on this album that stands out from the rest. One song that is the focal point of what this band are truly capable of. When I first heard ‘The Choreographer’, I was blown away. The next two people I played it to had the same reaction. I recently heard someone suggest it would make an ace, alternate Bond theme tune, and I think they hit the nail right on the head.

This song has a cinematic quality for sure. The picked acoustic guitar intro, the subtle strings that build nicely, to the haunting vocal performance that shows a vulnerability to Max’s vocals. Then there’s that unexpected moment when the band kick in that makes the hairs stand up on the back of my neck. This is a band taking things to a whole new level. It could well be the song of the year. Simply stunning.

 

The clever arrangements, infectious hooks and glorious guitars keep on coming and keep this listener’s attention. ‘Strangers in The Rain’ and ‘Animalize’ are cool as you like, and album closer ‘I Am Your Bible’ follows a similar cinematic path to ‘The Choreographer’. A dark and foreboding vibe is created as a skulking bassline drives the song. The guitars intertwine as it flows along nicely, before unexpectedly going off on a tangent into some otherworldly Danny Elfman soundscape with jagged guitars and raging drums. Up and down, it takes the listener on a rollercoaster ride of emotions before descending one final time to fade.

In the past they’ve been called feral, ferocious and fucking amazing! Now, with the right management and record label, it seems the time is right for the band to make their move. With strong songwriting, a killer sound and a production job that brings out the best in the boys, Hello Operator have released a debut album that’s up there in the running with anything released this year. It’s the perfect mash of indie vibes and desert rock goodness you never knew you needed in your life. I highly recommend you click the link, buy the digital version for now and hassle the hell outta their record company to release the thing on vinyl in time for Christmas.

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Author: Ben Hughes