Yup, for those who have to go back to work this morning we apologise. To show we care about you we’d like to offer you three crackers for your viewing pleasure this morning and to shake away any of the weekends overindulgences.
Last week was resignations left right and centre for our right wing politics of me Government so we’d like to show what side of the fence we’re on, (well me anyway seeing as I’m choosing the videos). First up they were subjected to this weekends interview questions the one and only Cyanide Pills with the fantastic ‘Government’.
Second up this morning is the larger than life frontman of the Mighty Wah! the one and only Pete Wylie with his pop tune dedicated to the one and only Iron lady ‘The Day That Margaret Thatcher Died’
Finally bringing up the rear (cheeky) are one of the rising stars of the UK alternative scene the amazing Bar Stool Preachers with ‘Grazie Governo’ taken from their second album of the same name. Anyway, only a few more days til the weekend folks. Keep it RPM!
I get it you love Biters and you have a soft spot for the likes of The Cars and Cheap Trick and they all have more great songs than they don’t, well, Kurt Baker is like that as well. He doesn’t do bad songs simple as that – original or covers. He doesn’t write bad tunes, in fact, he writes awesome tunes and this is the proof. He writes great tunes -pop tunes even but he plays them with loud guitars and that’s a lethal combination.
Hey, you Eureka Machines fans and you Costello fans get on this and check it out (you can thank me later) ‘Emma Stone’ has a melody and hook that’s just so listenable you can’t stay still it’s infectious and should have a government health warning.
He doesn’t change tack much at all (but why would you?) ‘What’s That Got To Do With Rock And Roll’ is a groovin’ slab of T-rex and some 70’s glam slam a go-go but don’t bother looking for imperfections because there aren’t any its just good time Rock ‘n’ Roll and its all about the good time and the party in your head whilst the songs are spinning and Baker is so good at it. Damn, there’s even time to sound like Thin Fuckin’ Lizzy on the excellent ‘On The Run’.
Thinks go Costello overload on the laid back ‘Since You’ve Been On My Mind’ its got a certain Joe Jackson about it too. There’s even time this October to throw in a Christmas song but because its Kurt Baker I’m giving him a pass and it’s perfectly acceptable because when Bakers singing it’s like every day is Christmas such are the power pop gifts being dished out. I know some of you will be scratching your noggins as this looks familiar well it does and it doesn’t this is the first time it’s had a vinyl release for the first time thanks to Ghost Highway and with some bonus material for all you audiophiles who just want your music on Wax or not at all.
By the time this album reaches the end we’ve got ourselves some synth-pop that’s right, some tasty new wave to put a cherry on the icing on the cake. ‘High Fidelity’ indeed!
Sunday afternoon in the big smoke followed by an evening in a venue that I have to say was a new one on me, but the chance to drift along and listen to some rarities and slow sad waltzes, that you knew were going to be delivered perfectly by Margo Timmins and family just couldn’t be missed.
I caught the cowboy junkies first live with a certain Ryan Adams guesting back in the Royal Albert Hall and they absolutely stunned me, and since then I’ve been an avid follower of their brand of Blues/Folk/country/Americana, truth be told its music that hooks into an emotional space and just holds you there.
On arrival at the theatre I couldn’t help but notice the cast list for a new play being show from Martin McDonagh (Three Billboards outside Ebbing Missouri) called a Very Very Very dark matter what caught my eye was Tom Waits, the ongoing Narrator and a certain Phil Daniels in an extended role, if you fancy checking out some reviews, which I did it might appeal, the premise is suitably dark and almost certainly insane.
With a ban on photos, (they were very protective of the said plays set) all I can say is that it provided a macabre backdrop to the nights proceedings.
No support act and two sets with an intermission, meant we got straight into the proceedings with the opening set focusing in on the new LP “All that Reckoning” opening up with the title track “All that reckoning” you were instantly caught up lets lay it out there Margo Timmins is probably one of the best female vocalists currently touring across any genre, watching her entranced in the music, feeling every note it was a really special performance, I have to at this point comment on the sound tonight it was incredible, you could hear a pin drop we could hear the vocalist draw breath, it was unreal. Tracks that stood out in this set for me probably the opening number, “Southern Rain,” “The things we do to each other” and the only nod to the past in this section “cause cheap is how I feel”.
The second set was simply sublime, heavy raw blues at times, acoustic Americana at others, while dipping in and out of an alternative country base.
Picking out tracks two of the covers, “Powderfinger”(Neil Young) and “Sweet Jane”,(from the velvet underground!!!) it nailed you to the seat with its intensity, while “Misguided Angel” that closed the set left you drifting wanting much more, the solitary song from the new LP, “shining teeth” deserves a special mention it sat so well in this set.
Then before you know it the band are gone, or almost gone coming back to cover Bowie’s “Five Years” which was jaw dropping and Patsy Cline’s ‘Walking after midnight” both given the Cowboy Junkies treatment.
Playing just under an hour set one and an hour and thirty minutes (almost) set two, it genuinely felt like 5 minutes each, I love nights where you just end up lost in the music!!
Seven days in Rock and Roll can be a long time or if you like us then it’ll fly by. With some exclusive interviews and a whole lot of records reviewed we hope we’ve at least shone a little light into a corner of the entertainment world we think houses the best of the best and having the likes of Rich Jones give an interview with some snippets about the new Michael Monroe album revealed ‘One Man Gang’ is now out of the bag and having the likes of Nasty Suicide and Captain Sensible playing on the record 2019 is shaping up nicely or as someone here at HQ said “that’s album of the year sorted for 2019”.
We also brought you Paul Collins interview who is the self declared king of power pop although I did get a call in to HQ saying that wasn’t quite true as Rags now holds that title but I’m not getting involved in that debate but we did announce that Rich Ragany is holding an album launch in London Town in January and the line up is a very impressive set of bands that shouldn’t be missed details can be found on RPM online News section.
There were live reviews from Japanese Garage legends King Brothers as well as acoustic platinum seller Eric Martin and on Friday we brought you a review of The Feelgood Band playing in London which rounded up a pretty diverse bunch from around the globe I’m sure you’ll agree?
For our bread and butter album reviews, we had some old new um very old and one turkey so a festive collection of records were covered by a crack team of scribes. We previewed Black Friday RSD must own – Johnny Thunders and the Heartbreakers ‘DTK’ as well as newcomers Estrons that went down extremely well here. We took a trip to New York for Palmyra Delran and her doppelgangers and whilst we were there Beechwood were heading out the door to Europe for a tour but left us their new long player which is also an impressive second album this year from the three-piece. The Turkey well we couldn’t sit Idol let Billy off without mentioning his revisited best-of collection that has been given the dance remix treatment which could have worked but cutting edge it isn’t. 90’s dated Ibiza dance off it might have been but disappointing is what it is and we can only bring you the truth here at RPM even though we love William Broad we’re excited for Generation Sex but not his new collection of remixes. There were the likes of the excellent Bitterlicks and Dave Kusworth records reviewed before they hit the shops as well as Thomas Silvers much anticipated solo album.
Not wanting to finish on a downer we look forward to the coming week where you have to keep it RPM online because we’re bringing you The Hip Priests and He Who Cannot Be Named live and where else are you getting that and Junkyard bookending Cowboy Junkies? Nowhere that’s where. Also, we have albums from Honest John Plain, Australians Civic, New York Sick OF It All and Europeans like Youth Avoiders and Fertile Hump. So remember to keep it RPM online and as Lux would say Stay Sick.
One of the good things about RPM is we know a thing or two about music and what hot and whats not. when we started this site there were a bunch of bands in our crosshairs that we knew we wanted to get behind and one of them at the top of this list were Cyanide Pills. Phil was happy to sit in the comfy chair whilst we threw a bunch of words in his direction and he was kind enough to make some sense of them and respond. Now if you’re not familiar with his band then my advice is don’t hang about just as soon as you’ve read this here interview check em out. Now read our little chat. Buy Cyanide Pills Here
Tell us a little history of the band. Who started it and where?
Time is a little hazy! We have been together over ten years now I reckon. Me and Chris Wrist (drums) got the band together, we both worked as cloakroom attendants in a nightclub/venue. I Think it was seeing the Briefs in the club and thought they were the best thing in years, they liked all the stuff we did, so it inspired us to go out and scrape together a bunch of misfits with the same mindset.
You’ve played sporadically around the UK and played steadily on mainland Europe. Is it difficult getting around the UK and picking up bookings? Can I hereby formally invite you to play in South Wales when you’re next out and about.
We would love to come and play! We played the UK all the time when we started, then we bumped into a bloke called Paul and he said “you lot would enjoy Europe and I’ll drive” so off we went, it’s good to get paid, fed and housed, they treat bands well over the water, Punk is alive and well so we keep going back, it’s Good to travel and meet different sorts. We should play the UK more often I must admit.
I’ve seen the band play at Rebellion year on year and have a decent slot this past year and a really good crowd are people finally hearing about the band or something else at play?
We have always had a great time at Rebellion, we play the warm–up show at the Tache as well, when it comes to attendance I’m not sure? I guess word spreads. We just do what we do and hope folk like it.
Your three albums, a live 10″ and a whole bunch of singles deep into this business what’s next? Anything on the immediate Horizon?
We are working on album number 4. Never had a plan, but we are lucky boys having a label and all. It’s good to be asked to do more stuff, cheers Ian Damaged!
You recently did the pink single as part of Damaged Goods Birthday celebrations who chose the single and why?
We have done a cover of the Glitter Bands ‘Just for you’ We like those glam bands from back in the day and originally wanted to do a Sweet number but chose the Glitter Band, a band you could say have suffered for the later crimes of a front man they kicked out in 73. So it’s our little homage to Rossall, Shephard and the others, they could write a fucking good tune.
Live the band is a ball of energy and the songs come thick and fast any specific shows spring to mind that told you that you were onto something with this rock n roll lark?
We judge everything as we did as kids in the crowd, what we liked to see in a band, keep it short, don’t talk bollocks between songs, keep playing the music. Move! And wear some decent clobber. The people who come make the best shows, the band is just a part of it.
Who writes the lyrics in the band? I’ve always loved the lyrics and think that Cyanide Pills are one of the sharpest bands in the UK over the last decade some of the lyrics are superb. There are the obvious ones like ‘Stop And Search’, the awesome ‘Up Against The Wall’ and ‘Government’ and the storytelling like ‘Johnny Thunders Lived In Leeds’ but its the fine use of the English language on ‘Suicide Bomber’, ‘Formica’ that really paints great pictures mentally. Is there a favourite lyric you’ve squeezed into a song?
Cheers! I (Phil) writes the words, I try to put a bit of effort in. For some people it’s all about the words, for others it’s not a big deal. To be honest, if a tune is good I could quite happily listen to someone shout the word shit over and over again. Don’t think about it too much although we do try and write the odd soppy love song which hopefully annoys the more macho types.
The bands sound has evolved from the first album to still bored. It’s still instantly recognisably Cyanide Pills but you were more adventurous would that be fair? The last album was more power pop than previous records but songs like ‘Lock Up’ sounded great alongside ‘sit tight’ and ‘Dance With You’. What about releasing singles that aren’t on the albums with exclusive B Sides its a real throwback to some classic bands from the 70’s and 80’s who’d do that.
Has it evolved?
I think it has
That wasn’t the plan. I’m with you on the singles thing, I’m more a fan of 45s than albums. We do have a tradition of putting a crap song on each side of an album, purposely done of course! usually a bit experimental or whatever, but it has to be a bit crap, I guess it comes from listening to Dickies albums as a kid. Also cramming in as many songs as possible, value for money and all that! Quantity over quality that’s what we always say.
Who influences you in your writing? What are your favourite singles and albums? Who else would you like to take out on the road with Cyanide Pills that would make for a great night out?
It’s pop songs, Buzzcocks singles, SLF singles, Generation X, Nick Lowe, Glam,
early Exploited, Jonathan Richman, Dr Feelgood, The boys, two-tone, Chuck Berry, Muddy Waters ..fucking loads, it’s one big jukebox. On the road, we have had the pleasure of supporting some of the bands who made us who we are. Long may it continue.
Finally, the floor is yours anything you’d like to plug or support?
Visit www.cyanidepills.com it has a list of shows we are doing, come along and see us if you’re nearby, if you like it we have records for sale in pretty colours. They sound the same as us live but without all the mistakes. Oh, and we have a nice range of clobber as well, if you need a the full makeover!
I had a quick glance at the cover then checked what the band looked like then dropped the needle (so to speak) I can’t help myself sometimes and before a note has been played I’ve already started judging a band. Hard rock isn’t really my bag and macho lyrics don’t move me so when HQ offered me The Lazys I already had my review covered and then I changed tack and thought I’d leave all my misconceptions at the door and go in with something of an open mind so here goes.
The production is bright and really compliments the hard Rock and Roll on offer the attitude seems genuine and they might just live it as they talk it. Sure the lyrics don’t always fly with me but hell the groove they hit is good – just take ‘Half Past Blues’ damn, it rocks.
The band has an ear for a commercial edge which works really well on ‘Nothing But Trouble’ and the guitar work is certainly an asset and it’s crisp and enjoyable and the chorus has enough to make it to the radio. Certainly, that edge is carried through to the harder hitting ‘One’s Too Many’ which has a strong tempo and is an old-school hard-rocker and again the playing is passionate and that comes through even if the lyrics are a little generic. There had to be a slower smokey number in here somewhere and tucked away towards the latter stages ‘Somebody’s Daughter’ hits that mark. It has a gentle introduction then builds towards the chorus then returns back. Singer Leon Harrison can really belt them out and has a strong vocal and is a real asset whether he’s singing softly (as he does here) or he’s really cutting loose like ‘Nothing But Trouble’. There is even time for the band to break out the big 80’s acoustic guitars on closer ‘Young Modern Lightning’ and commercial radio will be all over this as its sunsets on the record and the imagery within the song – it might not be my usual style but I can’t say I dislike this at all. I might not be investing in a beard and long hair any day soon but if you do like loud guitars and like a whiskey with your ballsy Rock then I’d suggest The Lazys might well be a band you should reach out and grab. Following on from fellow Australians who Rock hard like AC/DC and Rose Tattoo you can in the future add The Lazys to the roster as they have the sound and the songs.
I wear my Junkyard t-shirt with pride. I saw them back in the day and I saw them last year at Hull Hair Metal Heaven, albeit with a 26-year gap. Now I get to see them do an actual headline set at my local venue, just a short walk from my house, 27 years since first seeing them open for The Almighty.
Over here as support to Blackberry Smoke by personal request of singer Charlie Starr shows the respect these Hollywood veterans have in certain circles and rightly so. Lumped in with the late 80’s glam scene, they were always more Steve Earl than Motley Crue. Times may have changed, styles may have changed but Junkyard will always be Junkyard. Bowing to no trends or fads, they play rock ‘n’ roll like they always have, honest songs with dirty riffs and sleazy vocals that get under the fingernails and refuse to budge.
First up we have The Jokers. I’ve not seen or heard The Jokers before tonight and to be fair the Northern band were highly impressive. I guess you could put them right in the Classic Rock category, think Bad Company meets Shortino-era Quiet Riot. You can’t knock their energy and enthusiasm for starters and I think they turned it up to 11, maybe a bit too loud for the sparse turnout at Fibbers tonight.
Singer Wane Parry looks like a young Dave King in his Fastway days with Bolans’ corkscrew hair and what a damn fine set of pipes he has. Diminutive guitarist Paul Hurst is a poundshop Warner E Hodges and an excellent player who gives his all, pulling off massive riffs and licks aplenty. Several times he downs his Les Paul and comes out into the audience to beckon people to come to the front. He partly succeeded by pulling forward some birds who were probably wives and girlfriends of the band to be honest.
They played like the room was packed and they deserve bigger audiences. If they play in your town I strongly urge you to go see them.
Vintage Trouble’s ‘Run Like The River’ blats from the PA as an introduction for Junkyard’s set tonight. With the cover of last year’s excellent ‘High Water’ album emblazoned on the screens behind them, they launch straight into ‘Life Sentence’. It’s been the opener every time I have seen them, no wonder, it’s a killer introduction. “That’s my life, that’s my way…that’s my life sentence” shouts Roach as he swings his mic stand around the stage, no truer words have been sung with such conviction.
Dressed in their obligatory matching denim cut-offs, Junkyard are a gang who wear their colours proudly on their backs and their brand of biker blues is for real. The raw, punk rock delivery of David Roach is the perfect match for the bluesy twin guitars of Jimmy James and Tim Mosher. Uber cool Quireboys bassist Gary Ivin, standing in for the absent Todd Muscat, is a fine replacement and keeps a perfect rhythm with original drummer Pat Muzingo.
New songs such as ‘Faded’ and the punky ‘W.F.L.W.F.’ fit perfectly with the old standards and it’s as great to hear these new songs live as it is the classics. The ever cool ‘Back On The Streets’ and the bluesy ‘Long Way Home’ are played early and sound sublime.
Jimmy James breaks a string midway through ‘Blooze’, so as the pair of guitarists dart off stage together to re-string (they didn’t even bring a spare?), the rhythm section keeps the song going, bassist Gaz keeps the rumbling bassline jamming stage front as David returns with an extended vocal rap. A fine rock ‘n’ roll moment to savor.
‘Hands Off’ remains one of my favourite Junkyard songs and tonight, as Tim picks those classic chords and Jimmy rips out that bluesy lead, it sends shivers up the back of my spine.
Of course, they close with the obligatory ‘Hollywood’ their biggest hit, but not their greatest song by far.
No encore’s, no surprises and a no-frills approach that delivered just what you expect from a Junkyard show. There is talk of them returning to these shores in the not so distant future, and while I’m sure the packed out shows with Blackberry Smoke have been rewarding for the band, I do hope the not so packed club shows don’t put them off coming back for more. Until they return, I still wear my Junkyard t-shirt with pride.
Out of all the many excellent underground bands I’ve encountered internationally whilst writing for various music websites over the past decade or so, one of my absolute favourites has to be Bitch Queens from Switzerland. They just have that little something extra special about them (coupled with some truly excellent songs) and 10” dildo mic stands aside plus perhaps a few lucky breaks, who knows, they could perhaps transcend their current underground cult following and break through into the mainstream and be huge.
The band’s drummer Harry Darling must already sense this because here with X-Darlings he’s teamed up with Isabella Eder (from powerpop quartet Delilahs) to release a debut album that bears all the hallmarks of a true stadium rock contender. Think Ginger Wildheart’s Hey! Hello! jamming with an in their prime Backyard Babies with just a smidgeon of Muse’s pomp and ceremony added for maximum (special) effect and you certainly won’t be a bazillion B-Movie influenced miles away from what X-Darlings are all about.
Released earlier this month via Lux-Noise Records on LP and digital download ‘Dead Toy Capital Of the World’ contains 9 songs that skip surreptitiously into your psyche prompting the same kind of post-apocalyptic thoughts that bands like Grave Pleasures do in your frightmares, albeit here the X-Darlings give proceedings a slightly lighter pop undercurrent.
Take opener ‘Are You Talking To Me’ for example, this baby conjures up images of Travis Bickle fronting an electro version of The Cramps and believe me it sounds every bit as fantastic as it looks in print. Elsewhere ‘Particle Collison’ manages to twist one of Dregen’s most memorable riffs into a twisting dark pop waltz complete with gloriously camp hand claps that punctuate the verses with a hint of Bitch Queens magic, whilst in album closer ‘Brand New Day’ that aforementioned sense of epic grandeur that has Muse headlining stadiums all around the world is nailed to total perfection.
I must admit that when Dom sent this one over to me to review, he kind of gave me the impression that this was an out and out glam record, but nothing really could be further from the truth on the throbbing ‘In Transit’ a track which actually sounds like the soundtrack to an imaginary electro spaghetti western. Fear not though glam fans because you will love tracks like ‘There For You’ and ‘Snap Out Of It’ and you’d be quite within your rights to simply scream the choruses into your hairbrush like you did back in the day plus with the curiously monikered ‘Laxative’ X-Darlings thankfully prove they are anything but shit at the glam punk game.
‘Dead Toy Capital Of the World’ then is a mighty fine solo/side-project from Harry Darling, it’s a fascinating look behind the scenes into some the more melodic influences of his day job band, and whilst it took me a few plays to get fully into it, I do think that all the best albums in my record collection have always tended to be like that.
It’s one to get on the X-mas list that’s for sure and it’s an interesting precursor to the all-new Bitch Queens album which is due in early 2019
COMPULSIONS Front Man Returns From Road, Releases Album Teaser Featuring ROLLING STONES Cover (Feat. GUNS N’ ROSES, RAGING SLAB Players)
From camping out in the recording studio with an army of killer New York musicians to racing around England and Germany on a co-headlining tour with
CRYBABYS front man, Darrell Bath (DOGS D’AMOUR, IAN HUNTER, UK SUBS), 2018 has been a busy year for COMPULSIONS leader, Rob Carlyle.
“I had a blast on the road with Darrell,” says Rob. “It’s rare for me to have that much in common with another musician. But musically speaking, we were two peas in a pod. Anyone who brings Now Look by Ron Wood on tour is all right by me! And after one of the German shows, I’m told someone on Facebook called us ‘The Two Greatest Rockers from Each Side of the Pond.’ So, I guess we did all right (laughs).”
But now that he’s back home, Carlyle’s been back in his second home: the recording studio. The New York-born frontman has been putting the final touches on Ferocious, the follow-up to his wildly acclaimed band’s sophomore effort, Dirty Fun (2015) – a release music scribes spilled much ink over as they favorably compared the underground underdogs to legendary artists such as AEROSMITH, THE NEW YORK DOLLS and THE ROLLING STONES.
“The recording process has taken longer than I expected but then again, we had about thirty tracks in the works,” explains Rob. “And it wasn’t until recently that we narrowed them down to the ten songs that’ll be on (Ferocious). But on the flip side, with the other 20 or so tracks already in progress, we have a great head start on the next couple of albums.”
As he continues to tinker with producer Ken Rich at Grand Street Recording, Rob springs a second Ferocious teaser video on the unsuspecting public.
To quickly backtrack: The first clip was unleashed in late 2017, featuring upcoming ditty, “Dirtbag Blues” – an obscenity-laced spurt of back alley sleaze with none other than Earl Slick (yes, DAVID BOWIE’s guitarist!) delivering a rapid-fire barrage of snarling CHUCK BERRY-style licks and riffs. In addition to Carlyle and Slick, rounding out the “Dirtbag” lineup was ex-NEW YORK DOLLS drummer, Brian Delaney, and ex-RAGING SLAB bassist, Alex Morton
Fast forward to today for the release of a second Ferocious video.
In this latest video, Rob and a seemingly heavily sedated nurse are sprawled out on a dirty basement floor while Rob strums his battered Telecaster. The music features THE COMPULSIONS tearing through THE ROLLING STONES’ country-inspired classic, “Dead Flowers”. The “Flowers” recording lineup consists of two GUNS N’ ROSES alumni, Ron “Bumblefoot” Thal on guitar heroics and Frank Ferrer on drums, along with Carlyle and Morton in their respective roles – not to mention gospel-tinged backing vocals by Nicki Richards (borrowed from MADONNA and MARIAH CAREY) and boozy barroom piano by Andrew Sherman. The new teaser video featuring “Dead
An official release date for Ferocious has yet to be announced, however, Rob offered this: “I thought we’d release (Ferocious) in 2018, but between working on almost 30 tracks and the tour dates that popped up unexpectedly, we’re gonna now shoot for 2019. In the meantime, I hope everyone gets a kick outta this little clip. And please keep spinning THE COMPULSIONS real loud and please keep telling all your friends about the band. Rock ‘n’ roll needs your love… every little bit counts! God bless!” More COMPULSIONS news is coming soon. Check the website for details
As I walk past the Indian Restaurant situated on the Parade of shops at the end of my Road I often see stuck up in the window entertainment to entice potential customers into sampling their wares. These normally come in the form of an A4 poster with a picture of a George Michael, or a Michael Jackson tribute act who will, whilst you are eating, sing all their hits. I can’t think of anything worse than having “Wake Me Up Before You Goa Goa” ringing in my ears, ruining my Chicken Bhuna (Did you see what I did there?).
However, there is a time and a place for tribute acts; when your favourite band becomes so huge that the only venues that they play are enormodomes which means binoculars to see them and a second mortgage to pay for the privilege, Metallica. Or after years of services they have retired from the Rock ‘n’ Roll Circus, Rush. The saddest thing is if that all Classic era members are now playing in the great gig in the sky, Ramones and Motörhead. Then there’s the anomaly that is The Feelgood Band. Playing Clubs and Pubs the same size and sometimes even bigger than Dr. Feelgood the band they pay homage to. To blur the lines even more between Tribute and the Real Thing is that both feature no original members. To be fair the current Dr. Feelgood line-up has been playing together longer than Lee Brilleaux, Wilko Johnson, The Big Figure and John B Sparks ever did. That period though (1971-1977) is the basic remit for The Feelgood Band, to recreate that Canvey Island R&B energy and swagger. Watching The Feelgood Band at The Pelton Arms I felt I was an extra in either a Sky Arts or a BBC4 Docudrama. Considering the Pub has doubled as The Nags Head from the “Only Fools and Horses” prequel “Rock & Chips” this could be plausible. When vocalist Mark introduces the band for a second I think he’s gone off script wondering who are these people he’s name checking. None of The Feelgood Band go out of their way to look like the members they are mimicking, no Brilleaux dirty white suit, but they have the moves and flavour, but most importantly they really and I mean really do sound like Dr. Feelgood from that time period. “Roxette”, “She Does It Right”, “Going Back Home” et el are all “Close your eyes and you would think you were there” moments.
Having said that though the band do stray into some of Wilko’s post Feelgood solo recordings with a healthy dose of songs that the band recorded with Gypie Mayo; “My Buddy Buddy Friends”, “She’s A Wind Up”, “Down to The Doctors” and even “No Mo Do Yakamo” from 1980’s “A Case of the Shakes”. Disappointingly for me as I love it, no “Milk and Alcohol”. I’m not sure why it wasn’t included, maybe unlike the others, it can’t be Wilkoised.
At the stroke of 11 pm The Feelgood Band wrap things up to the dying sounds of Bonfire Night Fireworks and I have no idea who had the better time; the band or the audience.