𝗧𝗵𝗲 𝗥𝗲𝗽𝗲𝗻𝘁𝗹𝗲𝘀𝘀 𝗞𝗶𝗹𝗹𝗼𝗴𝘆 – 𝗜𝗻 𝗧𝗵𝗲𝗮𝘁𝗲𝗿𝘀 𝗢𝗻 𝗡𝗼𝘃𝗲𝗺𝗯𝗲𝗿 𝟲𝘁𝗵 – Uncompromising and unmissable, this one-night-only event features the short film paired with a full concert performance and a cinema-exclusive welcome from the band.

Find your nearest screening and book tickets online at https://www.slayer.film

For nearly four decades, Slayer’s onslaught has proven them to be the supreme thrash-metal band on the planet – the band that other heavy acts are measured against and aspire to. With their place in music history secure, Slayer – Tom Araya, Kerry King, Gary Holt and Paul Bostaph – in conjunction with Trafalgar Releasing, Nuclear Blast Records and Prime Zero Productions, will unleash the Slaytanic offensive on the big screen when “Slayer: The Repentless Killogy” debuts in movie theatres around the world on November 6, 2019. Uncompromising and unmissable, this one-night-only event will feature the short film paired with Slayer’s entire performance filmed at its August 5, 2017 concert at the Los Angeles Forum.

Revenge, murder, bloodshed and retribution. “Slayer: The Repentless Killogy” short film was written and directed by BJ McDonnell, who conceived and directed the three brutal music videos – “You Against You,” “Repentless,” and “Pride in Prejudice”- for Slayer’s final studio album Repentless (2015).

The “Repentless Killogy” motion picture begins with the powerful short narrative film that brings together the music of Slayer and the grisly story they wanted to tell. Opening with the trilogy of music videos assembled as one chronological storyline, we are introduced to the narrative’s main character Wyatt, a former Neo Nazi associated with “The Hand Brotherhood,” a gang whose signature mark was a bloody handprint left after a murder had taken place. Prior to the first music video, Wyatt had left the gang after he fell in love with Gina. The two had gone into hiding to escape his gruesome past and start a family, but The Hand Brotherhood was not going to allow that to happen, and Gina, pregnant with their first child, was savagely murdered as Wyatt was forced to look on. The film then segues into the present-time narrative that sees Wyatt on the run from law enforcement and the Nazi gang, but now dedicated to eliminating The Hand Brotherhood and seeking retribution wherever he can.

“The Repentless Killogy” stars many of the actors who appeared in the original video series: Jason Trost (“Beats of Rage,” “Hatchet III”) as Wyatt, Danny Trejo (“Machete,” “From Dusk Til Dawn”), Richard Speight (“Band of Brothers,” “Supernatural”), Derek Mears (“Agents of S.H.I.E.L.D.”), Jessica Pimentel (“Orange Is The New Black”), Tyler Mane (“X-Men,” “Halloween !!”), Bill Moseley (“The Devil’s Rejects,” “The Texas Chainsaw Massacre 2”), Caroline Williams (“The Texas Chainsaw Massacre 2,” “Sharknado 4”), and Sean Whalen (“Twister,” “The People Under The Stairs”).

Part two of “The Repentless Killogy” features Slayer’s entire live set performed at the Los Angeles Forum on August 5, 2017, and was directed by Wayne Isham who has directed videos for artists including Metallica, Foo Fighters, Michael Jackson, Kelly Clarkson, and Britney Spears. Presented in front of one of the most striking stage productions of the band’s career, Slayer performs fan-favorites including “South of Heaven,” “War Ensemble,” “Mandatory Suicide,” “Dead Skin Mask,” “Raining Blood,” and “Angel of Death.”

The new album ‘New Day Rising’ will be released on 08-Nov-2019. All pre-orders will be fulfilled by release date and the band have some shirt / CD combo bundles available Here

‘New Day Rising’ is Eleven tracks of riff fueled, feel-good Rock and Roll. From Guitar heavy grooves to Motown flavoured ballads, this album takes the listener on an emotional rollercoaster of love. hate, heartbreak, and revenge. The album was recorded, produced and mixed by Leigh Fuge at his own studio. Rather than sit on the record the band decided to self-finance and self release their comeback to the music world. That wait is almost over and you can find out what all the fuss is about by securing your copy at the link above you’ll also get one track immediately as a download.

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AFM Records are extremely excited to announce the new album ‘Killection’ from the acclaimed Finnish Hard Rock/Heavy Metal monsters LORDI!  
 
‘Killection’ will hit the streets 31st January 2020 and this, the tenth album in the band’s history, has turned out to be the most extraordinary and varied album so far.
 
Rock/Heavy Metal monsters LORDI were founded in 1992 by lead singer, songwriter, visual art designer and costume designer Mr. Lordi. The band has deep Finnish roots originating from the city of Rovaniemi in Lapland. In 2006 they celebrated their international breakthrough by winning the Eurovision Song Contest (‘Hard Rock Hallelujah’).
 
But is it possible that this is only a pale misperception of our poor, limited reality?
What if LORDI would have already been making music since the early 70’s? And what if they have been releasing one hit single after the other since those times and now, almost 50 years later, are looking back on a full collection of songs that have been successful ever since?
This is exactly the idea that LORDI are executing with their newest studio album Killection.

Killection will be released on January 31st via AFM Records. Once more Mr. Lordi, the master of the masquerade, presents us with one of his ideas, absurd and genius at the same time, and comes up with a concept that has never been done before in the music industry: This is a compilation album that simply says “what if” LORDI had been in existence since the early 70’s. It contains all their imaginary hit singles from different periods done with painstaking attention to detail using authentic studios and vintage technology. This is how they would have sounded if LORDI had made music back then and therefore would have had the hit material to release this compilation now.
 
This is how Mr. Lordi himself sums it up:
“Killection is a fictional compilation album. It contains songs that LORDI would have written between the early ’70s through the mid-’90s. The compilation contains one “brand new” song from 2019 as well, cause that’s somehow always typical for compilations.
 

 
LORDI – 
KILLECTOUR 2020
Plus special guest
16.02.20 HU-Budapest – Barba Negra
18.02.20 SK-Bratislava – MMC
20.02.20 ITA-Bergamo – Druso
21.02.20 ITA-San Dona/Venice – Revolver
22.02.20 AUT-Klagenfurt – Stereo
23.02.20 AUT-Wien – Szene
27.02.20 F-Istres – L`usine
29.02.20 ES-Madrid – Shoko
01.03.20 ES-Barcelona – Razzmatazz 2
02.03.20 D.Toulouse – Le Bikini
03.03.20 F-Angers – La Chabada
05.03.20 F-Epinal – Souris Verte
06.03.20 F-Paris – La Machine de Moulin Rouge
07.03.20 NED-Sneek – Bolwerk
10.03.20 D-Muenchen – Backstage
12.03.20 D-Hamburg – Markthalle
13.03.20 D-Berlin – Kesselhaus
14.03.20 D-Leipzig – Hellraiser
15.03.20 D-Stuttgart – LKA
18.03.20 D-Aschaffenburg – Colos Saal
19.03.20 D-Nuernberg – Hirsch
20.03.20 D-Memmingen – Kaminwerk
21.03.20 D-Regensburg – Eventhalle Airport
22.03.20 CZ-Prague – Roxy
25.03.20 D-Koeln – Essigfabrik
26.03.20 CH-Pratteln – Z7
27.03.20 D-Heidelberg – Hallo 02
28.03.20 CH-Schaffhausen – Kammgarn
29.03.20 NED-Amstelveen – P 60

Lethargy formed in 2000,and after nearly ten years of silence, a
new album emerges. Why now you might ask?  A band that
offered much promise was signed to Powerage Records (Established by Classic Rock Magazine in 2010.) Following UK tours and festival appearances, and two albums that appeared in Classic Rock magazine’s Top 50 Albums of the year, Lethargy took an unannounced hiatus. By this time the band had been around for 12 years and the harsh realities of the music industry and the demise of Powerage Records had set in, leading the band to a crossroad. Prior to this hiatus, the band entered Mwnci Studios and The Boneyard Studios in West Wales with producer Will Maya (The Answer.) Until now the master tapes have remained in a box on a studio shelf. As the band is still lifelong friends they decided all the blood sweat and tears put into the album deserved to finally be heard. So here we are at the tail end of 2019 with the release of ‘After All This Has Gone’.

The album kicks off with the really riff-heavy and aggressive ‘Amphetamine’ now, straight away I thought had these boyos been from LA or Seattle then I’m confident that they would be clutching platinum records and gold discs. The sound is polished but it’s got grit and some dirt under the fingernails as well. As far as openers go this is impressive.

One of the things that shine through is whilst the record is heavy as fuck there is plenty of melodies and the songs are varied and boring they aren’t.  They obviously worked hard on the harmonies within the band and the final result has paid off. The next few tracks pay testimony to this theory with ‘Redefine’ sounding like something Ozzy would have pushed his Mrs off a malibu cliff to have had in his repertoire several years ago when he was recording new music.

Having more than one able vocalist in the band is a plus you’ve got that variety as ‘It Ends Abruptly’ rides in on a strong Stone Temple Pilots groove with those gang vocals shining through. ‘Strike The Sky’ has more than a tip of the hat to Faith No More with some soaring vocals and a riff that’s heavier than a fuckin’ anvil.  By the middle of the album ‘Dusk Is A Time For The Eyes’ and a slower more purposeful, measured number that lets the listener take stock. Another strong point is the songs are in the main about the four-minute mark which keeps them focussed and stops the temptation for the band to noodle off on a tangent which can often be the downfall for a lot of bands in this field of Rock.

‘Electric Sin’ is built on a riff (oh right you don’t say) and sounds like a dozen guitars are playing a symphony of riffola as it slows down to a grind but if this were sped up would be classic NYHC such is the fine lines. ‘No Horizen’ would have Wildhearts fans wetting their collective undergarments if this were on one of their records.

Now I did compliment the boys on their restraint with regards to the song lengths but to put a full stop they go and prove me wrong with an epic six-minute ‘Low Tide’ that meanders, ebbs and flows but to be fair didn’t feel almost six minutes and it did add another layer to the bombastic Riff Fest that a lot of this album is about.  If you’re after guitars and strong vocals with a post-grunge meets Heavy Rock then this might well be your album.  If you like any of the bands and styles I’ve mentioned then you will love this album ‘After All This Has Gone’ should see the band reignite a flickering flame into a blazing inferno.  Lethargy are back and they’ve come out swinging and I’m still puzzled why these have sat for so long unreleased thank God that’s not the case anymore.

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Buy After All This Has Gone Here

Author: Dom Daley

Ok, Heres the deal.  Limited to 100 copies then they’re gone as an appetizer to the new LP that’s on the way.  This CD only features Deniz Tek on a couple of tracks and is seven songs deep – Three Exclusive to this EP.  Two from the last Studio album (still available on vinyl from those good looking lifers at Ghost HighwayRecords) the to round it all off there are a pair of tracks from the forthcoming new long player ‘Electric Junk’. If thats not enough to get your Rock and Roll heart skipping a beat then I’d check for a pulse and thats before the virtual needle has dropped on this little lot.

Right then settle down as Deniz Tek joins our man Jeff on the first exclusive and rather intriguing ‘Mr. Antlers I Presume?’ imagine this a smokey barroom with some honky-tonk piano and a raw guitar riffing away before riding in on a sinister dark lick and the band crash in.  Well, that the opener with a spoken narration from Dahl before your mind get fucked with some Jazzy middle eight.  Don’t get too worried you punk rock kids because ‘Burned Out’ is like being punched in the face and enjoying it – More, please.  An Acoustic ‘The Wooo Girls’ which has the loose feel of capturing the vibe of some repeated listening to Bowie’s ‘Hunky Dory’ album. Laidback and cool Like a mid ’70s bit of NYC rock and roll Lou Reed would approve I’m sure of it.

A couple of beauties from the ‘Made In Hawaii’ album are up next the first is the catchy ‘Kailua 5 a.m.’ followed by the slide guitar rock and rolla of ‘Bang On’ with its Glam undertones inspired by The Faces and some excellent 70s BV’s that make you want to hand clap and stamp your feet. Oh shit, I’m getting ahead of myself here because the first glimpse into the new album is ‘Violence Squad’ and man they’re stomping their feet and handclapping alright.  Again Tek adds his six-string expertise to this stonking rocka that whets the appetite for what’s to come. Another taken from ‘Electric Junk’ is ‘Until We Bleed’ and Dahl once again shows his roar with a no-nonsense slab of punk rock.  That’ll do nicely sir until we can all get down and get with the new long-player and if this pair of tracks are anything to go by we’re in for a treat pop pickers.

Now, what are you waiting for get over on the link and secure a copy before they’re gone and cost you a fortune on some website in six months. Essential purchase!

 

Buy it from direct from Jeff Here

Author: Dom Daley

David Lee Roth (October 10, 1954) If you don’t know then where’ve you been hiding? He is, of course, the frontman (I wouldn’t dare call him the singer) of Hall Of Fame members Van Halen and solo artist in his own right. Lee Roth is also a published author, Radio Presenter, Actor and multi-platinum recording artist to boot now how about that? Most famed for his stints in Van Halen (or rather the first stint in Van Halen) and his incredibly succesful solo run where he had an EP ‘Crazy From The Heat’ in ’85 that was an MTV smash as well as a couple of massively successful records ‘Eat Em And Smile’ in ’86 and ‘Skyscraper’ in ’88 that saw him assemble an iconic band around him that rivaled anything he did in Van Halen or it certainly seemed like it on this side of the pond (possibly due to his touring here in the UK) something his previous employers didn’t do to the same extent thats for sure.

 

He managed to release six solo albums between ’86 and ’03 which was the same amount he recorded with Van Halen between ’78 and ’84 however its fair to say the quality of the Van Halen albums far outshines his solo efforts.

Roth was born in Indiana to art teacher Sibyl Roth and ophthalmologist Nathan Roth.  Roth moved to Pasadena in his teens. He “bounced around” a number of schools and eventually saw a psychiatrist for several years, when he attended a ranch for troubled teens he cared for a horse to build a sense of responsibility something they obviously thought he was lacking. It was in Pasadena, at the Pasadena City College (he did not graduate either) where he met the Van Halen brothers, Eddie and Alex. and his life would change forever.

His first band was called Mammoth and along with the two Van Halen brothers they mostly played covers and it when they found out there was another band with the same name it was changed to Van Halen.  It was when playing a residency at the Starwood that the band was discovered by none other than Gene Simmonds in ’76.  It is believed he took note originally as he wanted Eddie for his own band Kiss however he did record the band’s first demos.  The demos went on to form the basis of the band’s debut album which Warner Brothers’ Ted Templeton had them signed after also seeing them perform at The Starwood club. That debut album has since gone on to sell a staggering 12 million copies.

As a frontman, Roth was perfect for the time and perfect for the band.  he was considered the ultimate party frontman and reveled in his role. they were described as  “a nonstop booze-and-babes party train.” by Rolling Stone and a lot of that was down to Roth’s flamboyant style.

Fast forward to the MTV age of 1984 and Roth certainly knew how to make a video and he was always under the spotlight of every party damn there was no party unless he was there.  His first foray into a solo career came just after the huge success of ‘Hot For Teacher’ and ‘Jump’ and it was something of a sidestep and a touch of genius that set him up as a crooner to record ‘Just A Gigalo’ and ‘California Girls’ which suited his style and persona to a tee. The videos were humorous (at the time) and indulged his womanizing party-going lifestyle.  It’s fair to say it was perfect for the star and he was indeed the larger than life character that people came to know and love. Let’s be fair lots of boys wanted to be him and girls wanted to be with him – life must have been peachy for Roth throughout the ’80s no doubt about it.

Going from the Van Halen brothers seemed like madness at the time but as soon as ‘Eat Em And Smile’ hit the shelves and people saw what was on offer via the video for ‘Yankee Rose’ it was like Van Who?   I bet Warner Brothers couldn’t believe their luck when they heard what he was creating with Vai, Bissonette and Billy Sheehan and then the lycra of ‘Yankee Rose’ hit the TV sets and Roth was top of the class again.  The debut solo album reached number four in the Billboard charts whilst the singles just licked the top ten. The second solo record ‘Skyscraper’ also featured Vai and Sheehan reaching number six in the Billboard charts selling over two million which isn’t something you can sniff at. The single ‘Just Like Paradise’ also got to number six and featured Roth carrying out his love of rock climbing.

His third solo record saw a change in guitar player with Vai leaving to be replaced by Jason Becker and after MTV banned the video for the title track ‘A Little Ain’t Enough’ the record only managed Gold. Becker was diagnosed with amyotrophic lateral sclerosis a form of Motor Neurons disease which meant he struggled to finish recording the record and couldn’t tour which was a major set back. Roth struggled under the emergence of Grunge and his decline was rapid with more than half the albums tour getting canceled due to poor ticket sales.

Roth did go on to make a further three albums with the last being 2003s ‘Diamond Dave’ which in fairness was mostly covers two of them were almost ten years old that had never been used.  Roth was seemingly on the scrap heap – losing his locks and with music moving on so quickly he was in danger of being left behind. IT was in 2007 when news broke of an original Van Halen reunion but this time there was to be no Anthony in the lineup and due to Eddie’s illness he didn’t attend the induction into the Hall Of Fame and it was turning into a bit of a shower.

Roth did not attend the ceremony and the event was considered yet another public shit shower for the band. It was rumored to be based on the choice of songs to be played Roth wanted to perform ‘Jump’,   but Velvet Revolver would only agree to play “Ain’t Talkin’ ‘Bout Love” or “You Really Got Me.” When it was finally agreed upon that Paul Shaffer would perform “Jump,” Roth claimed there was no longer enough time to rehearse and opted not to attend the ceremony. Leaving Anthony and Sammy Hagar to acknowledge Roth’s contribution to the iconic band. Later that year Roth and Eddie Van Halen held a press conference to announce, finally, things were on the up for the band’s reunion.  In 2012 the band finally released ‘A Different Kind of Truth’.  In a different time, things might have been so different however this album charted at number two on the Billboard charts but only sold 400,000 copies compared to earlier sales of early albums its dwarfed.

In that same year Roth began broadcasting a  video webcast on his YouTube channel, and also on iTunes, called ‘The Roth Show’.  Roth has lived in Tokyo since May 2012 but maintains homes in New York City and California. Today Diamond Dave is 65 years young. Happy Birthday David Lee Roth!

GLASGOW SHOW RE-SHEDULE

Saxon announce a new date for Scottish fans to see the band following the cancellation of the Glasgow Braehead Arena show on October 18th 2019 due to Lead Singer Biff Byford’s recent heart operation.

The new date is Friday March 27th 2020 and the venue is Glasgow Barrowland Ballroom.

Due to venue restrictions this show will not be a “Castles & Eagles” production as previously advertised.

Biff Byford “I am very sorry that we couldn’t reschedule the previously announced show at Braehead Arena with the full production we had planned, but after a couple of weeks of trying to get availability at Braehead Arena and other Scottish venues that could house the production we had drawn a blank. We decided we had to play a show for all our fans in Scotland and Barrowland’s stepped up with clearing the date we needed. Unfortunately due to Barrowland’s size restrictions we cannot put the Castles & Eagles production in and hope you all understand, but we will try to make this as special a show for you as possible”

Special guests on this show will be Girlschool.

Tickets purchased* for the Braehead Arena show will remain valid with a refund available for the price difference.

Additional tickets are available from www.ticketmaster.co.uk

 

*pending on outlet used to purchase Braehead Arena tickets, will determine whether new tickets are valid for the Barrowlands date. If any tickets are not valid for exchange (and refund of price difference) then a refund of original ticket price is available so you can purchase a new Barrowland Ballroom ticket. Your ticket agent will confirm.

Rescheduled October 2019 shows are now as follows:

2020
March 7th– Germany, Dusseldorf – Mitsubishi Electric Halle
March 27th– UK, Glasgow – Barrowland Ballroom
March 28th– UK, London – Eventim Apollo
March 29th– UK, Manchester – O2 Apollo

All existing tickets will remain valid for new dates and in the case of a required refund please visit point of purchase.

Tickets for the rescheduled London and Manchester shows are available from:
www.myticket.co.uk with Dusseldorf tickets from www.myticket.de

Next month marks the 30th anniversary of me and RPM’s Nev Brooks attending gigs together, our itinerary starting back in November 1989 when we were lucky enough to catch a just about to break big Mudhoney annihilate a packed to the rafters Bristol Bierkeller. Also on the bill that night, the cosmic psychedelia of The Telescopes, and in many ways tonight’s show bears more than just the odd striking similarity to that most memorable of first date nights.

It’s not just the fact that three decades on Brooks is somehow still putting up with my antics but that tonight’s show also perfectly blends those punk rock/psychedelia genres once again. Tonight is also long since sold out as two years on from the release for their excellent ‘The Haze’ album Leeds based rockers Pulled Apart By Horses look to premiere brand new songs from their yet to be recorded fifth studio album by playing a series of fourteen shows across the UK in some the most intimate venues they’ve played in years.

It’s great to see Le Pub’s live room packed out for the arrival of local openers Dactyl Terra (geddit?) too, a trio who in turn proceed to deliver a size ten alt-rock boot up the arse of all the UK bands who currently think it’s cool to wear cowboy hats and wax their facial hair whilst worshiping at the temple of 70s and 80s hard rock dinosaurs (sorry I couldn’t resist it).

Which also rather tenuously brings me to tour main support, Baba Naga. This trio is already renowned as Sheffield’s finest exponents of pagan doom and are also a band I quite often see being compared to… ahem Pink Floyd. So, whilst there’s certainly a few quieter Floyd-like transient moments during tonight’s all too brief 30 minute set, for me the Babas have much more in common with the aforementioned Telescopes or perhaps ‘Gravity Grave’ era The Verve whilst at their more rockier moments they actually kind of remind me of The Heads from just over the other side of the river Severn.

There’s no between song Baba banter just the sound of their intro tape looping away like some kind of hypnotic mantra and as a result I have no idea what songs the guys played tonight, I just found that I had this compelling urge to go  buy myself a Baba Naga tour kaftan at the end of their set…ha!

Owning all of the Pulled Apart By Horses albums but never actually having seen them live before tonight I really wasn’t too sure what to expect as the band stepped up onto Le Pub’s legendary low stage, and I must admit my first impressions weren’t that positive at all. Opening with new track ‘Pipe Dream’ singer Tom Hudson complete with matching black jacket and ¾ length trousers (keeping his ankles cool obviously) seemed kind of uninterested in the events at hand exuding an almost Kasabian-like arrogant swagger, that is until the track suddenly changed pace half way through and he instantly transformed into one of my new favourite frontmen, marching through the packed crowd mic in hand barking out lyrical orders to his devoted followers, he is now equal parts Iggy Pop and  Matt Caughtran.

‘First World Problems’ quickly follows and this along with ‘Rinse & Repeat’ aired later on after two cuts from ‘The Haze’ are the perhaps the immediate hits from the (I think?) eight new tracks played tonight, something that is never an easy thing to do, but all of them seem to go down well with the Horses faithful.

The superb 3 minute pop punk anthem ‘V.E.N.O.M’ is thankfully still in the set being the first song I ever heard by the band back in 2011 on Radio 6 Music and closing things out tonight we have the old school debut album mayhem of ‘High Five, Swan Dive, Nose Dive’ and ‘Punched A Lion In The Throat’ to send everyone home drenched in sweat.

Of course I’d have liked to have heard some tracks like the immense ‘Hot Squash’ from ‘Blood’  slotted into tonight’s set, but you know what, the new stuff worked just fine and this must be the first time, since I witnessed The Bronx preview the whole of ‘Bronx IV’ live long before its release, that such a feat was done with so much aplomb.

I leave Le Pub totally euphoric with what I have just witnessed, and its gigs like this that will always have me bowling back to the car arms laden with merch ready to tell the world what they have been missing out on.

Pulled Apart By Horses were fucking phenomenal tonight – FACT!

Author: Johnny Hayward

 

What I hear you say Two live reviews from Jim Jones in a couple of weeks.  Well, one is from the start of the tour and the other (this) from the tail of the tour.  Besides it would seem both nights were fucking spectacular so the internet being flooded (ok maybe not flooded) with Rock and Roll can only be a good thing and if you’ve never seen this band then take some advice and get down and get with it if they’re ever playing near you (which they probably will)

Johnny took care of the support act as I was busy negotiating the M4 that had taken on the look of a rapid river such was the downpour this evening.

If uber did arks you can bet your bottom dollar there would be a rank of them parked on Castle St just around the corner from Clwb Ifor Bach tonight. Such is the ferocity of the rain that walking up to the venue I think to myself that maybe I’ve walked onto the film set of Seven…or perhaps make that Severn as I by the time I do finally reach the gig I look like I’ve been for a dip in said river.

Why am I telling you all this? Well, it’s on nights like this that gigs can tend to suffer attendance-wise especially with walk-up crowds and some lost souls even when they have bought tickets in advance then simply can’t be arsed to get wet and make the effort to get out the front door. Not so tonight though as even before the ungodly hour of 7:30 pm there is more than a healthy number of Righteous Minds in attendance to bid a very warm welcome to last-minute support act Joe Kelly & The Royal Pharmacy.

Joe’s mix of deep south (wales) blues and folk actually proves to be the perfect pick me up tonic after our early evening soaking as the two-piece set up (of guitar and drums) deliver songs like ‘Home’ from their recent ‘The Road’ EP that spark and glow like a warm campfire that the audience can huddle around to dry off.

There’s a haunting quality to Joe’s guitar that recalls David Lynch movie soundtracks and his husky sour mash fermented vocals are straight outta the Usk Delta, whilst on earlier songs like ‘Babylon’ I can see why some folks are getting a little bit excited and calling him a modern-day Dylan.  As a band dropped in at the last minute to replace two other acts that had sadly fallen by the wayside due to illness Joe Kelly & The Royal Pharmacy just make their left of field take on this rock ‘n’ roll malarkey look oh so easy…

 

What, We carried a review from York on this tour but such is the undeniable force of nature that is Jim Jones & The Righteous Mind how could we not top and tail the tour? Having only seen the band play a few months ago on the opening night of the album’s release this was JJ&TRM having bedded in the new tunes and with some distance from their birth, this was another perfect night to check out one of the UK’s finest Rock and Roll bands currently treading the boards.  Like a finely tuned beast and with a new single on show they were never going to disappoint it was more a question of how good they were going to be.

 

In fairness to Jim he has always played this neck of the woods and this must have been the umpteenth time I’ve seen him perform with one line up or another and I’ve never left a show unenthused or thinking about missing the next time he breezes through town. Kicking off with the wonderful stomp of ‘Get Down Get With It’ it’s hard to believe that things can’t go anywhere but downhill from here but following on from the glam tastic cover its ‘Boil Yer Blood’ and a couple more from the marvelous debut ‘Super Natural’ before we get a peek behind the curtail and the band wheel in a wonderful dramatic ‘Shazam’. ‘Sex Robot’ and ‘Satan Got His Heart Set On You’ as the band then flip flop from one album to the other picking the audience up then slamming them down before knocking out a rough house version of ‘Helter Skelter’ the band are absolutely in tune with one and other as they spar off each other trading guitar lick or bass line or percussion fill with the lap steel and piano chipping in with uplifting fills at every opportunity.

Looking like the Cult of real Rock and Roll in their roll necks  or some brothers in arms armed with Guitars and music rather than Bullets and Bombs they’ll be queuing out the door to sign up to join the collective with these guys providing the soundtrack and message. It warms my heart to hear them rally against Austerity and tory Britain and how Shit Island is heading down the pan with clowns and Jokers at every turn but whilst were led by the snout by greedy politicians and right-wing loons I’ll take this soundtrack and I guess selfishly Great Rock and Roll always rises up in tough times and hearing the sermon of ‘I Found A Love’ for one evening the world outside can wait whilst I get carried away on a wave of Righteous Rock and Roll.  After taking a walk through the audience and taking the message to the people on ‘Base Is Loaded’ they are called back for an encore that they richly deserve.

With the clock ticking the band has time for ‘Hold up’ and a blistering ‘Alpha Shit’ before we rejoin the rank and file on the rainy street of Cardiff with our ears ringing and another night of the finest Rock and Roll you could wish for pumping around our hearts.  Amen to that Brothers Jim and the rest of the Righteous Mind you raised the bar a little higher than before – now when can we do it all again?

 

It’s been a while since we heard anything from the Sherriff McCoy. In fact, its 10 years since Hanoi Rocks performed their last hurrah and put the band to bed with a final show at the Tavastia in Helsinki. So what has Michael Monroe’s former partner in crime been up to? Well, if you believe the comments on YouTube, it appears he has been a lighthouse keeper for 10 years! While I would love that to be true, apart from the short-lived Grease Helmet and a few guest appearances, it seems he has done little musically to speak of and has spent more time on his artwork, clothes design and even a stint on Finland’s Celebrity Big Brother.

But the guitar legend is back with a 12 song slab of ‘21st Century Rocks’, his first solo album since ‘Building On Tradition’ that came out way back in 1995. And what a welcome surprise it is.

 

Lead single ‘Seven Seas’ came out of nowhere a month back and actually upstaged Monroe’s first offering from the highly anticipated ‘One Man Band’. Andy always had an ear for melody and ‘Seven Seas’ confirms he still has a trick or two up his sleeve. A definite classic Hanoi feel comes across, as it builds to a fantastic uplifting chorus that fills the ears and soul with a feeling of euphoria no drug can give. Can Andy McCoy possibly be the king of all comebacks? We will have to see if the rest of the album holds up to the same quality.

That familiar guitar tone blasts from the speakers as the title track sets the scene for the album. The even more familiar vocal drawl follows. Andy McCoy’s vocals are certainly an acquired taste, but let’s not forget Hanoi Rocks’ back catalogue would not be the same without those quirky ‘out of tune’ backing vocals of his. And that guitar solo… no one plays guitar quite like Andy McCoy! Killer stuff indeed.

 

The ghost of his bastard past is never far away. ‘Undertow’ comes on like ‘A Day Late, A Dollar Short’, there’s even a sax solo to boot. I wonder if it originated from those sessions. Whether it did or not, it’s a cool tune for sure. Then ‘Batteram’ takes things way back in time. That melody comes on like Hanoi’s ‘Desperado’ to these ears. And the way he sings “round” and “ground” in the chorus with an unmistakeable accent is cool as fuck.

Andy’s songwriting and guitar playing has always been more experimental, taking in eastern and reggae influences, and he certainly creates a few more mental beats to make a diverse album. While Monroe has stuck to his rock ‘n’ roll roots for his whole solo career, (and we wouldn’t want it any other way, right?) McCoy explores the obscure and recaptures the quirky influences that peppered Hanoi’s earlier albums.

‘Maria Maria’ is pure class. Mariachi vibes all over as trumpets and strummed acoustics take us into spaghetti western territory. The Urban Voodoo Machine comes to mind as Andy transports us to the Mexican border to smoke a doobie or two, down tequila and jam out in the scorching sun with a chiquita or two. That is what I imagine Andy has been doing in the wilderness years! While I don’t think Andy is even allowed anywhere near any US boarders anytime soon due to his past antics, the idea is spot on.

‘Soul Satisfaction’ is another track that is out there, even in Andy McCoy terms. A tripped-out pre chorus leads into a 70’s New York groove as the main man slurs his words like Keith Richards on his second bottle of Jack.

‘Bible and a Gun’ could sit nicely anywhere in his discography. A bluesy, Stonesy little number with honky tonk piano and a cool barroom boogie groove. Elsewhere, Andy makes his guitar gently weep on the opening riff of ‘The Hunger’. The laid back, jangly backing, harmonised guitars and the ‘Village Girl’ style breakdown to fade makes this a rapturous and satisfying ride.

As we reach the final stretch it comes to mind that Andy McCoy actually comes on like vintage Alice Cooper, which is something that I never realised.  Take away the smoky sax on ‘Gimme Time’ and listen intently to closer ‘This is Rock ‘n’ Roll’ with its gang backing vocals and Detroit garage rock delivery and maybe you’ll catch my drift.

 

Obviously, ‘21st Century Rocks’ will be measured up against ‘One Man Gang’ as they literally come out within weeks of each other. Michael Monroe has an established career as a solo artist and has one of the best live bands in the business, and Andy is…well he’s just Andy McCoy, the guitar-slinging outlaw! Let’s not take anything away from either camp. Both are living legends that together produced some of the greatest albums in my record collection and influenced a whole generation of bands.

While they made magic together, they continue to do the same on their own terms. ‘21st Century Rocks’ is a testament to that, a surprise hit on many levels. Who’s for a UK tour then?

Buy 21st Century Rocks Here  (Finland)

Buy 21st Century Rocks Here (Amazon)

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Author: Ben Hughes