‘Dead End City’ was originally released back in 2001 by Stardumb Records. While you can still pick up vinyl repressings in Europe, this long out of print album from Italian stallions The Peawees is finally available on CD for the US market on Rum Bar Records.

The Peawees have been playing low slung rock ‘n’ roll for over two decades now and last year’s ‘Moving Target’, their 5th long player, proves they have aged disgracefully and are in fact, a band at the height of their powers, melding vintage Elvis Costello melodies with 50’s rock ‘n’ roll vibes and dirty, punk rock goodness.


‘Dead End City’ originally came out at a time when the airwaves were choc a bloc with a different kind of punk. The pop/punk of Sum 41 and Blink 182 were mainstream, yet it was the Scandinavian bands that were ruling the stereos of those in the know, right?  Albums by the likes of Backyard Babies, The Hellacopters and The Hives are the ones that stick in my memory from 2001. There were plenty of other great albums that were very much under the radar, such as this little gem of an album.

Led by singer/guitarist Hervé Peroncini, The Peawees bash out an irresistible combination of garage rock, rhythm & blues and punk rock that is as timeless as the influences they wear on their leather jacket clad sleeves.

Opener ‘Road To Rock ‘n’ Roll’ is a wall of guitars and urgent beats, with a chorus that brings to mind RPM faves The Loyalties, in part due to the vocal similarities to Tom Spencer. In fact, this album pre-dates the Loyalties, coming out a year after The Yo-Yo’s disbanded and a few years before The Loyalties got going.

Lead single ‘Cause You Don’t Know Me’ is a mighty fine anthemic blast of rock ‘n’ roll fun, you will swear down you have heard before. I was that convinced, I was on the net quick sharpish to check! Hervé’s gruff vocals cut through the distortion to deliver an instant chorus that will stick long after the final notes have faded. Brilliant stuff.

With pop-tastic melodies on the likes of ‘No Reaction’ and ‘Ready To Go’, handclaps and cool as you like solos that nod their heads to Chuck Berry (‘In My Heart Tonight’) and to spaghetti westerns (‘I’m Not Right’), the tunes on ‘Dead End City’ cannot fail to ignite the rock ‘n’ roll in your soul one way or another, guaranteeing your return for repeated listens.


While a choice, run through of CCR’s ‘Proud Mary’ closed the original album, now an additional 3 tracks including the old doo wop classic ‘Run Around Sue’ and the super-fantastic rocker ‘Don’t Give A Fuck’ only adds to the high energy fun of a band that gloriously melds vintage, guitar-driven garage rock goodness with the pop sensibilities of new wave, to create a masterful album that will sit proudly between The Hellacopters and Social Distortion on your shelf.


Rum Bar Records


Author: Ben Hughes






Following on from ‘Rosary’, the brooding folk rock stomper released at the end of last year, this latest offering from the Northern Irish singer-songwriter is an acoustic led, upbeat ballad that swings. Featuring an infectious sax-served hook, on a bed of mandolin and guitar jangle, with a little country honk keys thrown in for good measure. While the breezy feel to the music is guaranteed to have you clapping along, it’s juxtaposed by the melancholic, reflective verse, delivered by a distinctive croon. It’s this classic contradiction that never fails to pull those heartstrings and MJC unapologetically carries on the tradition in his own style for the modern day, with echoes of Faces and ‘Exile’ era Stones.


Anodyne’ is available to stream/download on SpotifyApple Music and all good digital platforms from Friday 29th March. Also featured on the limited edition 7” vinyl single ‘Rosary / Anodyne’ available exclusively from Pirate Heart Records.

Catch Matty James Cassidy and the band live:

04/05 – Outlaw Rock N’ Roll Weekend, Glossop UK

01/06 – Camden Rocks Festival, London UK

13/06 – Trillians, Newcastle UK

14/06 – The Ice Box, Glasgow UK

15/06 – The Fulford Arms, York UK





Ian McNabb in the Transport Club, sat down in a very relaxed environment, drinks less than £3.50 a pint! I’ll have some of that.

This his second visit to the workingmen’s club environment of the Transport Club Cardiff is a bit of a strange setting but I’m no stranger to seeing some artists take the stage in some weird and wonderful settings I did wonder what time the meat raffle was or if we’d missed it. The room is very well populated and McNabb takes the stage just after eight and to be fair he doesn’t hang about as he takes his seat straps on an acoustic guitar and throws in a few big un’s early doors which is always nice to sort of gauge how an evening is going to pan out.  To be fair you could have heard a pin drop apart from a pair of daft mares sat in the corner yapping like fish wives but they were soon shushed and a very refreshing silence hushed over the building as McNabb got on with the business of knocking out some superb tunes. It was ‘Head Like A Rock’, ‘Merseybeast’, ‘Understanding Jane’, ‘Ought To Be A Law’ an epic ‘You Must Be Prepared To Dream’ before he explained the concept behind the new album before playing the title track ‘Our Future In Space’.  He did mention that if we wanted it could be a marathon performance which is always nice to hear meaning that he’s up for it and means business and it was when he informed us that he’d tucked his socks in his trousers in case he needed a toilet break but couldn’t stop playing which was nice to know. 

McNabb then moved over to his trusty piano for a few tales about playing with Mike Scott and his style of piano playing which led to him playing ‘Making Silver Sing’ also off the new album which sounded fantastic as a solo piece with just him his keyboard and harmonica.  McNabb was on fire as he indulged in some banter with the locals even letting everyone know he’ll be next playing local with the Icicle Works which was – um? oh yes local if you call London and 150 miles local.  Even McNabb saw the funny side of that one.


After more new songs including great audience participation during ‘Vodka Rivers & Cigarette Trees’.  Sadly it wasn’t to be the three hour marathon not quite but it was two hours and that’ll do but if the first half hour wasn’t strong enough to take the set home ‘Camaraderie’, an immense and powerful ‘Before All Of This’ built up towards the show stopper that is ‘When It All Comes Down’.  However, McNabb surprisingly didn’t play ‘Wonderful Colours’ tonight not that I’m too disappointed seeing as we got ‘Out Of Season’ off the first album which was cool.  before leaving the stage we had an amusing introduction to ‘Liverpool Girls’.  There was also an immaculate rendition of ‘Clarabella (come To The Window)’ from ‘Star Smile Strong’ which saw McNabb once again go right from his humble beginnings off that debut Icicle Works album right through his career including ‘Pocahontas’ and the story about playing his hometown with Neil Young in front of thousands and how it meant the same to him as playing a small club to a room full of appreciative fans in Cardiff which went down well. 


He could have gone on all night and knowing he does house shows maybe we should have offered him a bed for the night and taken him home to play all the songs I wanted him to play that he didn’t have time for.but then next time maybe I’ll get a bunch of those but whatever he plays McNabb could sing a shopping list and I’d be all ears such is his velvet tones and captivating songs.  Always a pleasure – never a chore.  Ian McNabb songwriting genius and all round good bloke.  If you get the chance to see him play I suggest you do because you won’t regret it. Simply Fantastic!


Its that time of week again and we got to see some cool bands live last week and got some cool bands coming live this week so we thought we’d share a few with you good folks out there whilst you get ready for the working week.  why not get it off to a good start with us and beginning with this beauty from our favourite Japanese 80’s rockers Electric Eel Shock

Second up why not have this from LA Guns new album that was released last Friday and reviewed on these very pages only a few weeks ago.  Heres ‘The Devil You Know’ brand new and hot off the press –

If all that Rock is too much for you how about taking things easy with this video courtesy of The Cavemen? That’ll put you on the right track for the week ahead if it doesn’t try going back to bed or growing a hipster beard because you’re failing miserably. we know and now you do that the Cavemen rule! Stay sick!

Happy Monday folks

 Every now and again, you drop an album in whatever format into your system and it just stops you dead when you hit the play button!!! Welcome to Hugo Race because it just stopped me dead in my tracks. The raw blues of Dirt Road that unmistakable world, weary drawl, so dominant in my collection, (Don’t forget Hugo Race spent time as one of the Bad Seeds) this LP has it all. Worth noting; that Hugo Race also wrote the screenplay to “Ghosts of the Civil Dead”.

As you drop out of the opener, your pulled into “Saw the Lights” This track bleeds for you, that almost Southern drawl, picked acoustica, really sets up the lyrics to tell a story.


Next up we have the sort of cover version that I love, stripped back, given a new very different lease of life, what am I talking about? “John the Revelator” from Depeche Mode, but the T Bone Burnett influenced guitar work takes it to a whole new dimension, at times, sparse and intense you can almost feel the Bad Seeds breathing life into it, talk about a sonic soundscape. . Before you know it you’ve drifted through “Eyesight to the blind”, “Three Forks “ one of me personal faves on the LP, evoking Tom Waits at times, at others bringing forward its own identity.  Before your hit with the next up “Certified fool” evoking Nick Cave at his most intense from her to eternity times, remember Race played on this stunner!! You can feel the music breathe, as it twists and crawl its way into your conscious.


There really is no let up, this is one of those late nite LP’s when your alone, sat sipping whisky drifting with the music, allowing the imagery evoked to come forward. You almost have to draw breath at this point you’ve become so immersed in the sound, but the reality is there is no let up, the second half of the LP is equally as strong as the first, no filler present, tracks like “Pray for sleep”, “Memnon Days” and “White Scorpion”, all hit the mark before you come to the LP closer “Earls Murder” really nails the feel of the whole album, what a soundscape.


When as you do I looked into Hugo Races background, knowing him only from the Nick Cave links, what I found absolutely stunned me from leaving Nick Cave and the bad seeds after playing on From Her to Eternity, Kicking against the Pricks, Tender Prey  and Murder Ballads, before forming The Wreckery (You should really dig this stuff up, I did), to the releases with Hugo Race and the True Spirit, to his Solo releases of which this is one, to the Dirt Music releases, Sepiatone releases, into Hugo Race & Fatalists and beyond, what I found was a Multi Instrumentalist with a huge back catalogue waiting to be explored by yours truly. If you pick up one re-issue this year make it this one.

Author: Nev Brooks


When this baby landed in my Inbox, my first thoughts on first play were, where do I know this from, trawling the memory banks I’d actually caught them twice live, once with Dreadzone in Bristol and again at the Reading festival in 2000,  my overriding memory was what am I watching!!!!! At the time they were so far out on a limb from what I was actually listening to it was surreal. I mean imagine Breakbeats, Hip Hop, heavy Dub all underpinned with an obvious Bangra influence. I think it showed how different they actually were, they toured with Radiohead on the Hail to the Thief tour.


Now from those jarring live memories listening to Rafi’s Revenge I can appreciate what they were trying to do and how seamlessly those influences blend together, still giving you something that is still out on its own and something that probably can’t be imitated.

Remember this LP and band were quoted in NME Upon original release as “the most important band in Britain”  as did the Sunday Times calling them “ the most exciting band in Britain right now, whatever the context”, while the Melody Maker said discovering  Rafi’s Revenge is like  finding ice-cold vain in the middle of the Kalahari. No not just good, fucking brilliant”.


The great thing is that even now I think those words still hold up and these guys blew the doors wide open for musical exploration and innovation, the cultural melting point for music is huge and when it all comes together cannot help but influence.


Rafi’s Revenge originally peaked at number 20 on the UK Albums Chart and was shortlisted for the 1998 Mercury Music Prize, with Bobby Gillespie hailing them at the time as ‘the best live act in Britain’. I think that’s the enuff said moment. Check it out for your self, see if you call out the bands that they ended up influencing.


But this re-issue of Rafi’s Revenge, coming out as a double CD or Double white vinyl LP has a hidden pleasure a second LP called Under the Influence a selection of tracks from Adrian Sherwood put together from Rare, unissued and re-mastered tracks. This LP has to be heard to be believed and runs the original release close and makes you wonder why its taken so long to step out of the vaults, the heavy Dub bass lines, the Indian influence within the guitar, all drag you in to the samples which conjure up images of the Orb and any number of “pioneers”, who all drew down from the Adrian Sherwood Pallette.


This is a seriously good double pack, whether you are a fan, looking to see how the music holds up, or someone who’s heard the name in passing in connection to something else, you need to own this. It’s rare to say but the music hasn’t aged at all and in fact in a Pre-Brexit Britain, the modern cultural identity about to be ravaged beyond belief we need to listen to bands like Asian Dub Foundation to remind ourselves what we’re going to lose. As Relevant now as when it was first released, simply stunning.

Buy Rafi’s Revenge Here

Author: Nev Brooks


Camden Rock Festival is proud to announce a further sixty bands for the 2019 edition, including The Pigeon Detectives, scheduled to perform on Saturday. Hailing from Yorkshire, the all-English quartet has established itself amongst the country’s best Indie bands. From their platinum-selling debut album “Wait For Me” to the deeper and more reflective fifth record “Broken Glances”, The Pigeon Detectives have the catalogue and the experience to deliver a show to be remembered.

Also announced are English reggae-influenced punk rockers The Ruts DC, celebrating the 40th anniversary of debut album “The Crack”; critics’ favourite metal-core four-piece Glamour Of The Kill, singer-songwriter Sean McGowan, anthemic pop-rock Londoners Luna Bay; acoustic-duoUndead Raisins (Andy & Colin from Hundred Reasons); and more.

Lineup & Tickets: Here

What could possibly top a week off work, well I tell you the arrival of the latest Delta 88 album certainly did.

‘Firefly’ is the second release from rocking trio Delta 88. The band are: Simon Clews guitar, vocals, Nikki Clews drums, vocals and Julian wood on the upright bass.

The album kicks off with the track ‘Cherry pie until I die’ which has a classic rockabilly sound and instantly gets the listener wanting more with great vocals by Simon.

On ‘Damsel In Distress’ Nikki takes over on lead vocals and does a great job on this earworm of a track. always a bonus when a band has more than one really strong vocal.

‘Massachusetts Firefly’ is a track which is a bit more laid back,  with a country element running through it and adds another texture to the bands sound.

Another standout is the track Patient Man’ which as the song goes along picks up the pace and really gets the listener’s foot tapping along.

‘Panther In The Night’ has a slightly bluesy feel to it and keeps the quality of the album at a high. as the band show there no one trick pony. ‘Please Don’t Send Me Home’ closes the album out and is again a top quality rockabilly number.

Firefly is an impressive album with great playing from all three band members. Once around the block is never enough and this one makes me want to press play and start it all over again and another quality release from the The Western Star Recording Company that seems to be my go-to label for all things stand up bass and quality tunes. Proving you don’t need to be born in Nashville to make great Rockabilly records.

Buy ‘Firefly’ Here

Western Star Records

Author: Gareth ‘Mutton Chops’ Hooper

I first encountered Polish trio Fertile Hump in 2018 at Kabinet Muz, one of the best small live venues in Brno. And it would be here that I would catch them again, this time with touring partners Gulag Beach. Following the headliners’ previous show in Brno, I was so impressed by their energy and charm that I snapped up the vinyl of their first album, the fantastic Dead Heart. With the second album, Kiss Kiss or Bang Bang released later in 2018, the band have gone from strength to strength.

With proposed support band the Kinkies failing to appear through illness, it’s up to Gulag Beach to warm up the stage. Hailing from Berlin, and coming to Brno with their own sharp brand of punk rock, Gulag Beach have their work cut out on a quiet Thursday night here. Opening to a decidedly calm room, the punchy drive of Gulag Beach does well to gradually whip up a decent atmosphere. They run delightfully through a quick set of songs including Potato Mash Bash and Can’t Stand K-Pop, entertaining the crowd in lively fashion. A good set all round from the support tonight.

The crowd are quiet again when Fertile Hump take to the stage. This doesn’t affect their game, however, and they are as fun and magical as previously, quickly whipping up a charged room with their simple but particular style of bluesy, garage rock. The interplay between Magda and Tomek at the front of the stage is both dynamic and amusing, with Tomek declaring that ‘being a couple in a band is a fucking nightmare’. On stage at least they are a delight. Magda’s soulful voice and Tomek’s loose guitar play is backed up superbly by Maciek’s driving drums. The band draws on music from their two albums and the 2015 EP (which I picked up this evening), and their energy is infectious.

With their real stripped-down sound, Fertile Hump once again delivers the goods with an honest and intense performance of impassioned blues rock ‘n’ roll. I’m already looking forward to the next time.


Author: Craggy Collyde