Nashville based guitar and vocalists are a dime a dozen, but some are worth a bit more currency. Spotlight onto JD Simo. His honest, raw take on the tried and tested blues-rock formula certainly hits home with me. I grew up surrounding myself with blues so JD’s fresh take on this is a warm, welcoming hug coupled with a punch in the guts… I love it!


‘Boom Boom, Out Go the Lights’ kicks off proceedings with a wall of fuzzy guitars and tasty licks. I’m feeling elements of the chaotic nature of Buddy Guy coupled with the rock sensibilities of more modern blues torchbearers such as Gary Clark Jr. The lick around the one minute mark even makes me think of a late 60s Cream era Eric Clapton throwing some woody sounding licks over the Disraeli Gears album.


‘Off at 11’ brings a more mellow, jazzy edged shuffle but I can’t help but feel something is going to explode out of the speakers at any moment. Oh and here it comes, the wah soaked licks. Simo is making that guitar scream and shout. This track takes me from Albert King to Jimi Hendrix via a sea of psychedelic madness.


‘You Need Love’ picks the pace up again with a heavy, gritty stomp. The groove is heavy here and the guitar licks are flying. Simo has taken everything good about the 60s and 70s, coupled it with classic blues, put it in a blender and delivered it with his own fuzzy stamp. His vocals in this track certainly remind me of another of my favourite Nashville based singers, Noah Hunt from the Kenny Wayne Shepherd band. Perhaps there is something in the water that makes these Nashville singers phrase their vocals in that magic way.


‘I Got Love If You Want It’ takes the listener back to the early days of blues. We’re heading to the Delta on a freight train and we ain’t getting off ‘til we reach the Mississippi. JD shows that he’s not only someone who can take the formula and bring it to modern day, but he can also hang with the old guard and make his guitar sing like the best of the best.


Sometimes, well, anytime you play the blues, you have to get a little moody. ‘Temptation has a stunning, crisp guitar intro that has the hallmark of the Texas greats swimming in an ethereal reverb sea. This could be my favourite track off the album, though with such strong competition it’s hard to pick just one. As with all great down tempo songs, it’s only right to explode into a crescendo of power and madness at the end of the track.


‘Mind Trouble’ brings a southern stomp. This is music to drink whiskey and tap your foot along to. JD might have Mind Trouble according to the lyrics but he certainly doesn’t suffer from song writing troubles. This song is so swampy that you can almost taste the frogs on the bayou. It’s exciting to hear a very traditional blues style track with fuzzy guitars and acoustic solos.


It takes balls to cover BB King. After all, he is the King. But damn, JD has balls and he pulls off this fantastic rendition of ‘Sweet Little Angel’. From the moment he hits those first notes through to the end of the track, he is channeling his inner BB King. Always adopting the less is more approach when it comes to lead guitar in this track, he makes the guitar sing and moan with conviction with no note being played without a purpose.


The albums closing track is a Sixteen minute forty-seven second monolith titled ‘Accept’. While I don’t think this jam fest will be getting any airplay on the BBC due to it falling (only just) outside of their 3 minute and 30 seconds rule, who cares. JD and his band take you through scenes and movements through blues, fuzzy rock, mind-bending psychedelia and jazz. Strap in, you’re in for a ride! Sure, it’s long, but when you can play that good who cares? This man is on fire!

Author: Leigh Fuge

Buy Off At 11: Here



Formed in Seattle in 1984 and imploding during the recording of their debut album in 1987, Grunge pioneers Green River left a small but indelible mark on the music world during their brief existence, yet they went on to influence a whole host of bands and define a whole musical movement.

Put together by singer/guitarist Mark Arm, guitarist Steve Turner, bassist Jeff Ament and drummer Alex Vincent, (soon to be completed by guitarist Stone Gossard), Green River were part of a growing post-hardcore evolution in Seattle spearheaded by the likes of Sonic Youth, The Replacements and Butthole Surfers. Green River’s genre defining sound straddled post-hardcore punk, blues and, dare I say it, classic rock.


Recorded in June 1986 and released the following year, ‘Dry as A Bone’ was Green River’s second EP. Produced by the now legendary Jack Endino and released on a fledgling label called SubPop. It was a sludgy mix of hard rock, punk and metal, promoted as “ultra-loose grunge that destroyed the morals of a generation”.

Yet, band in-fighting was already rife by the time the band entered the studio to record their debut album. Ament and Gossard wanted to pursue a major label deal while Arm wanted to stay fiercely independent. They agreed to complete the album, but Ament, Gossard and guitarist Bruce Fairweather had already decided to quit. By October 1987 the band was over and ‘Rehab Doll’ finally surfaced the following year.

By this time Arm and Turner had formed Mudhoney and recorded their debut single ‘Touch Me, I’m Sick’, while Ament, Gossard and Fairweather were already making waves across Seattle with Mother Love Bone. And the rest as they say is history.


While these two releases previously surfaced as a single CD back in 1990, they have been unavailable on vinyl for many years. Now, they have been given the long overdue deluxe reissue treatment, with a whole host of previously unheard songs and 8 track demos recorded at Endino’s Reciprocal Recordings studio, which capture the true energy of the band live.

If you weren’t aware of Green River at the time, on first listen you may wonder what all the fuss was about. While in 2019 the sound of these two albums has aged remarkably well, to the casual newcomer they may sound derivative of a genre that was, let’s face it, oversaturated. But you have to think back to 30 years ago, and listen to them in the context of an 80’s musical climate and how fresh they must’ve sounded up against the mainstream US radio and the glam metal that was coming out of LA and beyond.


Originally a 5 track EP, ‘Dry As A Bone’ has a whopping additional 11 tracks on this re-issue. Some only previously available on much sought after and long deleted compilation albums. Sludgy, garage rock chaos, the brooding riffage and rambling Iggy-like vocals laying the blueprint for what would define the sound of Grunge a few years down the line. The likes of ‘Searchin’ and the dark, psychotic ‘Bazaar’ are just as essential as ‘This Town’ and ‘Unwind’. This is the raw punk delivery of a band trying to channel the energy of The Stooges to mid 80’s America. A storming cover of The Dead Boys ‘Ain’t Nothin’ To Do’ just goes to seal the deal really.


Considering the band were falling apart at the time, their one and only full length album ‘Rehab Doll’ sounds more focused and together than the raw sounding EP. Production wise, the hardcore elements have been polished up giving a more alternative sound.

The title track has a 70’s rock swagger and the first tastes of the signature sound that would propel certain members to mega stardom a few years later is evident. The acoustic slide and cowbell of ‘Take A Dive’ make way for a cool as you like, sleazy Stooges workout. And the brooding ‘One More Stitch’ has the sort of stripped-back, dark acoustic feel that Alice In Chains would make their own on 1994’s ‘Jar Of Flies’.

While the demo versions are not sonically that far removed from the album versions, the addition of the boisterous ‘Somebody’ and a killer version of Bowie’s ‘Queen Bitch’ make them essential listening.


While Ament and Gossard got the major label, muliti-platinum success they desired with Pearl Jam, Mudhoney still remain influential, and match Pearl Jam with album releases and world tours. Whether either band are better or more essential than Green River is open to debate, but one thing’s for sure, Green River were pioneers of the Grunge movement and remain the most rock ‘n’ roll of the bunch.

These two re-issues have been lovingly restored by original producer Jack Endino and are a snapshot of an exciting period of musical history. They show the raw beginnings and the evolution of musicians in a scene that would go on to do bigger and better things. But wherever they went the legacy of Green River would always follow.

Essential listening for both Grunge aficionados and any casual fans of garage-based rock ‘n’ roll.

Buy Dry As A Bone Here

Buy Rehab Doll Here

Author: Ben Hughes

Who doesn’t love a great wild west film where the hero gets involved in a shootout at high noon.

Well, how about for a change an album that you could put in your player and would instantly be the soundtrack to your favourite western.

Sarah Vista has managed to write a great album with killing fever that instantly transports you back to the wild old west.

The title track “Killing Fever” gets things off to a great start and is a great murder ballad.

The second track “Get 3 Coffins Ready” is yet another stunning track with horns starting the track and carrying on through which adds an extra nice touch.

Another highlight is the track “Now You Are Sleeping” which has a sound that mixes rockabilly with country and is instantly catchy and will get your foot tapping.

“Belle Starr” comes in with an irresistible country sound and keeps the quality of this album high.

“Hell At High Noon” is up next and as the title suggests is a track about retribution at high noon with the drums and guitar giving it a great atmospheric sound that drags the listener in.

Overall every song on this album is a winner and equally as good as the songs mentioned above.

Sarah has succeeded in writing a great album that takes the listener on a journey with every song having a great story behind it yet being instantly catchy that makes you go back for more and rediscover something new on each listen.


Buy ‘Killing Fever’: Here

Author: Gareth Hooper

Trash Culture are right up our street. Snotty brash lo-fi punk rock straight out of London town.  it’s fast – it’s raw – it’s uncompromising – it’s in your face and most of all its fuckin’ excellent.

Swinging straight out of the traps like they’ve been mainlining Dead Boys and DeaKennedys all their lives and had nothing but a steady diet of pissed off Rock n Roll and nothing less to suckle on. ‘Me Myself And You’ is smashing the nail right on the head with its frantic backbeat and rollicking chorus spitting bile all over the turntable from the opening lick to the frantic ripping soloing of the final hurrah! But breath quickly because the ticking time bomb tempo of ‘SOS’ is hot on the heels. If you’re not impressed with a bunch of hot sweaty lads throwing themselves about the gaff hitting things indiscriminately and making an unholy racket then quite frankly I couldn’t give a shit and I’d imagine Trash Culture aren’t for you. However, if you like to hear men shouting and screaming loudly and guitars being wielded about and hearing strings being throttled then this most certainly is for you and perhaps you should check out these boys because they have got it going on.

The title track is right off the Dead Boys press and Cheetah would be proud to have kids like this bastardising and twisting the likes of ‘Sonic Reducer’ into something equally as dangerous and uncompromising as this.  It’s eight songs that don’t hang about they’ll kick you in the bollocks nut you then leg it and having Dan at the North London Bomb factory master it is like a seal of quality right there. It’s like The New York Dolls on meth and speedballs mixed with Dead Boys rolling in the dirt so its not so much of a stretch – big deal they’re not reinventing the wheel here folks they’re just rockin’ it out and making as much racket as they can whilst leaving some pretty fuckin’ good tunes in their wake.

Treat yourself, climb onboard, strap up and let yourself be taken for a ride because Trash Culture are ready and able and I fuckin’ love it!

Author: Dom Daley

Some claim Suzi is the “Queen of Rock & Roll” but for me, that just doesn’t cover it. Suzi is TOTAL ROCK & ROLL! She stands alongside Lemmy, at the top of the pile, influencing all the people that influenced your favourite bands.

It seems almost crass to remind you of Ms. Quatro’s history. Not only are there the great singles like ‘Can The Can’, ‘48 Crash’ and ‘Devil Gate Drive’, but there’s also been 17 studio over the last five (yeah FIVE !!!) decades and of course there was her heart mangling role as Leather Tuscadero in the classic TV series Happy Days. As a matter of fact, I was innocently sporting my Suzi shirt on the KissKruise last year when bloke after bloke after bloke stopped me share their Suzi love. See, not all Kiss fans are bellends.

Anyway, enough of the bull and on with the show…

No Soul/No Control is a dirty rock revelation. It’s kind of L7 to be honest, with a bit of Foo Fighters thrown in for good measure and it’s a banger!!! Going Home is grinding blues, with than a hint Joan Jett – probably owing more to Suzi’s influence on Ms. Jett than the other way around.

First single,  Macho Man is pure Deep Purple and probably my favourite track on the album. A guaranteed future live favourite, sure to take centre stage amongst the Quatro classics. 

Easy Pickings has that kind of sleazy shuffle favoured by Mr. David Lee Roth and is another great slab of rock& roll.

Don’t Do Me Wrong takes you back to the land of the dirty blues, while  I Can Teach You To Fly has a badass Neil Diamond vibe to it that drags you right back to the sixties and won’t let go.

Suzi is non-stop and not stopping. As she rightly says, “I’ll retire when I go onstage, shake my ass and there is silence” and I’m not holding my breath for that moment!

No Control is released on March 29th, 2019  on CD along with a super sexy double LP on yellow with black swirly vinyl (complete with a couple of extra tracks and free CD version).

Look out for Suzi on tour across the UK this April.

4th April – Manchester – O2 Apollo
5th April – Leeds – First Direct Arena

6th April – Cardiff – Motorpoint Arena
7th April – Brighton – Brighton Centre
9th April – Newcastle – Metro Radio Arena
10th April – Nottingham – Motorpoint Arena
11th April – London – The SSE Arena
12th April – Birmingham – Genting Arena
13th April – Liverpool – Echo Arena
14th April – Bournemouth – BIC

With more dates across Europe and Australia also in the works for later this year.

Author: Fraser Munro

Buy No Control Here


Suzi Quatro, who more than lives up to her name as the “Queen Of Rock N’ Roll”, has signed with SPV / Steamhammer Records to release her stunning new studio album ‘No Control’ on March 29th.

The American rock vocalist has enjoyed success as a musician for more than fifty years, performing with unbridled energy her greatest hits such as ‘Can The Can’, ‘48 Crash’, ‘If You Can’t Give Me Love’, ‘She’s In Love With You’ and ‘Devil Gate Drive’, let alone wowing her fans again and again with her new material. It comes as no surprise that she’s not thinking of retiring; “I’ll retire when I go onstage, shake my ass and there is silence” she states, fully aware that that moment is still a long way off.

The majority of ‘No Control’, which contains eleven brand new songs, (plus two bonus tracks), consists of collaborations with her son from her first marriage, Richard Tuckey. Suzi explains “This was our first attempt at writing and recording something together. The creative progress began with ‘Don’t Do Me Wrong’. And, through the unusually beautiful English summer of 2018, we sat outside, acoustic bass, acoustic guitar, iPad recording app, and lots of paper, throwing ideas back and forth.” With amazing results, as the new album proves – to Suzi herself not only on a musical but also on a personal level.

Take, for example, ‘No Soul/No Control’, which features the message “Don`t let go of yourself for anyone”; Suzi: “This is my personal mantra. All you have in this world is you.” Remembering the conception of the composition, she says; “We were busy as hell, buried in the songs. Richard had a new idea and showed me. It was very unusual and I liked it. A very basic guitar and drum track was put down for me to work on the melody and lyric. I went into the living area of the studio and about 15 minutes later, it was done. It flew out of its own accord, as the best songs do.”

The same applies to numbers such as ‘Macho Man’ (Suzi: “It’s a no-brainer that this is an opening live song; you cannot help headbanging to it, it just grabs you”), ‘I Can Teach You To Fly’ (“a definite throwback to the sixties”), ‘Easy Pickings’ (“I’ve been playing this riff on acoustic guitar forever, at least the last ten years. Then all of a sudden, it became a song”) and ‘Love Isn’t Fair’ (“Got this idea sitting in our Hamburg home. I wanted to create a Blondie-meets-Mavericks song, and I think I accomplished that”).

Perhaps most unusual track on the album, ‘Strings’, has developed into a true little masterpiece during the studio recordings. Suzi: “This is all about the strings that tie our lives together. Great riff. I drove everyone mad singing nonstop in this weird voice ‘Strings’. I couldn’t get it out of my head, and – hallelujah – it came out in the recording exactly as I’d imagined.” Then saxophone player Ray Beavis asked if he could do a horn arrangement. “I didn’t really hear it, but of course I said yes. What he came up with knocked us all off our feet. What a track!”

You can tell how proud Suzi Quatro is of ‘No Control’; pride and delight at a career which has lasted for five decades and has maintained the creativity of the American rock icon to the present day. Suzi states “I’ve never stopped releasing through the years. ‘Back To The Drive’ in 2006, ‘In The Spotlight in 2011’, ‘Quatro, Scott & Powell’ in 2016. These albums were thought about and planned out in great detail. I am proud of all three releases, very proud. But my new album ‘No Control’ is its own animal.”

Suzi Quatro Live in 2019:-

4th April            Manchester – O2 Apollo
5th April            Leeds – First Direct Arena

6th April            Cardiff – Motorpoint Arena
7th April            Brighton – Brighton Centre
9th April            Newcastle – Metro Radio Arena
10th April          Nottingham – Motorpoint Arena
11th April          London – The SSE Arena
12th April          Birmingham – Genting Arena
13th April          Liverpool – Echo Arena
14th April          Bournemouth – BIC

SUZI QUATRO – No Control:   March 29th, 2019 CD DigiPak and 2LP Gatefold, 180g, printed inner sleeves, yellow with black swirls vinyl, 2 bonus tracks + CD (in paper sleeve) seems like a bargain for vinyl lovers. Available to pre order Here

Londonium folky alternative types Skinny Lister drop their fourth long player – A loosely-based concept album, “‘The Story Is…’ anthologises a series of personal vignettes inspired by a chaotic few years for the band and binds them into 14 tracks of unmistakably Skinny-sounding rock’n’roll”. Well, that’s the press blurb sorted then. Concept albums? ‘The Wall’ yuck,  ‘American Idiot’ that’s better –  so not such a daunting prospect then. The band have a sparkling production on this record with swirling keyboards  big drum sound and some fantastic vocal performances all wrapped up in some poptastic melodies like the huge ‘My Life My Architecture’

The band can go from balladic pop like the wheezing accordion of ‘Diesel Vehicle’  as it just drifts by like a modern-day Kinks or a hint of Lennon going on within the tracks DNA.  The album sees the band expand their horizons and arguably finds them in the most potent pop form of their career. ‘The Story Is…’ Produced and mixed by the highly capable Barny Barnicott (Arctic Monkeys, The Enemy, The Temper Trap) does a fantastic job twiddling the knobs.
‘Rattle And Roar’ will have the folky side of their work fans purring. ‘Artist Arsonist’ begins to get a little bit piraty for my taste and I’m not won back until the title track hits like Eels in its arrangement,  the song just gently rolls by complete with lush strings. Things pick up on ’38 Minutes’ as the band just get their rock on and sound like something between Teardrop Explodes and maybe some of Strummer’s solo work.
with possibly the albums best couple of songs towards the latter part of the record ‘Stop And Breath’ is another gentle acoustic stroll and dare I say it even easy listening.  Do I have to hand in my punk rock membership or is it ok to expand one’s horizons? ‘Cause For Chorus’ is back on that Strummer tip or even veering ever so slightly into Billy Bragg territory. They really get down to business on ‘Alister McAlister’ again rockin’ out in a strummer lite manner.
In summery its a really mixed bag of an album.  It sounds like a hit and a production and mix that should have wide appeal and a handful of songs that really resonate but it is interspersed with a few tracks that didn’t do anything for me or the continuity of this album which is a shame because it started so well and certainly ended well.


Author: Dom Daley

Not a country I could visit seeing as every creature there wants to kill you and I’m terrified of snakes so I’ll just settle for them producing some of the best bands old and new and that’s good enough for me.  First up today we have the brand new video from the most excellent Clowns


Second up and its a right banger from Amyl & The Sniffers who are about to drop a new record and tour the UK which we can’t wait for so the new single will just have to do

Couldn’t decide what to throw in for the third was it going to be The Living End or Black Heart Breakers it would have been Main Street Brats if they only made a video maybe in the future so this time its a classic bit of footage from Radio Birdman with ‘Descent Into The Maelstrom’

Seeing the Pledge debate rage on social media recently I couldn’t help but think of my friend Duncan Reid who had very recently announced a campaign for his new album.  Luckily it was barely hatched when he was able to pull the plug on the campaign and regroup to find a way around the shenanigans going on within Pledge Music. We decided to have a little catch-up and find out what’s going on round Duncan’s place?

You’ve always been self-sufficient when it comes to your solo career.  Was it daunting or a welcome challenge when you first decided to start up a solo career from scratch?

It was daunting. I didn’t know how to make and release a record.  Modern recording is very different from when I was in The Boys when we recorded onto 2-inch tape. It’s much more suited to DIY now. It’s very difficult to record drums at home on a proper kit (that’s why all these bedroom dance records use drum software programs) and you need to do that in a proper studio. But to a greater or lesser degree, if you spend about £2,000 on a good microphone, you can do the rest at home and mix it in a studio.

All of this was taught to me by Tony Barber (Ex Buzzcocks, Chelsea, Nirvana etc) when he produced our first 2 albums in a shed. We’ve settled on recording drums, bass and guitar in the studio because we want them to sound as good as possible and it’s not too time-consuming. What really takes the time on our records are the vocals because there are so many of them. One song might have over 20 vocal tracks on it so I do that at home. I also do keyboards as well. All of that gets emailed over to the studio to put with everything else and mixed.

These are the kind of things you have to learn how to do now because no record company is going to pay someone to do it for you when you play the music we play.

Similarly, you have to learn where to get CDs and LPs manufactured and find people who can design a sleeve for you. You need to get a digital distributor. I use AWAL who make all the tracks available on Apple Music, Spotify etc. I put the tracks on Bandcamp myself. You need a physical distributor to put the CDs and LPs in shops and online. Otherwise, you have to sort out your own Amazon and eBay accounts in every country in the world.

You have to learn about marketing, advertising on Facebook and other social media etc and, unless you want to spend a fortune every time, how to use photoshop and video editing software.

I had to pick all of this up from friends and paying to go on the odd course.

Just compare that with the seventies. Then you just played a gig and got drunk! But you know what? I really enjoy doing this stuff now. It requires a different sort of creativity and it makes me feel clever! Not just being a dumb musician getting ripped off. No one can do that because I’m paying all the bills!


Did you ever get involved during your time with The Boys?  They had some infamous managerial decisions or how would you describe them, off the pitch distractions shall we say?

I hadn’t worked in the music business for decades and The Boys didn’t really put out any records after we reformed. We were discussing making one but I left before it was made. Probably just as well. There would have been blood on the floor if we’d been locked in a studio together.

As I said, the whole DIY side of it was completely unknown to me but I’m a quick learner. With The Boys, I did tend to be the one who worked with Steve Metcalfe in liaising with promoters. But everything was laid on a plate for The Boys really. Being an ex-bass player/singer of The Boys was very different. It’s getting to a stage now after 6 years where promoters contact me and I have a great network of friends like Janne Lagestrom in Sweden, Dany Torres in Spain, Cristo Blick in Argentina and Bernd Lange in Germany who help out, but in the early days I had to fight to get shows and to get people to show up. It was far more difficult than I expected.

Having released several solo records now and having an established line up (I won’t say stable ) what made you look towards the Pledge platform?

I used to be sceptical about Pledge but friends like Paul-Ronney Angel and Nick Hughes from his experience in Role Models encouraged me to have a look at it. When I did, I appreciated how good it was. First: it means musicians don’t have to beg, steal, borrow and ramp their credit cards up to the maximum to get a record made. Secondly, and just as important, I appreciated just how much fans enjoy knowing that they are playing a crucial role in making that record possible. The whole communication side of it is great as you feel an obligation to make videos of the process to let everyone know how it’s going and that they will see something for their money.

I had a few negative comments from some musicians about how they wouldn’t pay Tesco a year in advance for a roast chicken. I might have said that once but it’s not right. There is no emotional bond between me and Tesco and Tesco don’t need any help from me to get the chicken in the shop. None of the people criticising were willing to lend me the £8,000 or so it will take to get the record made, manufactured and promoted instead!

Were you aware of any other crowdfunding platforms like IndieGoGo, Crowdrise, sellaband or Kickstarter as well as Pledge?

Vaguely, but I haven’t looked at them in detail.


Did you have reservations when signing yourself up?  Had you been made aware of what was brewing?

I had no idea of the trouble they were in. As I said, friends had used them and had a really good experience. But having signed up I began to have suspicions. I was new to it. I had questions. They were always saying “Hi. I’m So and So. I’m your account contact. Any questions just email or call me.” But when I emailed I had no response and calls weren’t answered. I thought it felt like an organisation who were understaffed and, being in money troubles, maybe they were trying to run it with too few staff. To get someone to contact me I would tweet them publicly asking if anyone was there. It’s a tip I’d give anyone. If you are being ignored by a company just tweet them. They tend to respond pretty quickly especially if you have 2,000 followers!


Was it easy to stop the campaign?  How accommodating are they with a cooling off period?

We had just launched our campaign. After less than 2 days we had raised over half our target. Then Nick Hughes emailed me the video made by the American guy saying people weren’t being paid. As I said before, I wasn’t surprised that they were in trouble and messaged them straight away saying that it was all over the internet that they were breaking their contracts with Artists and not paying up. I told them I wanted the Pledge campaign stopped immediately. They couldn’t argue with it as they didn’t have a leg to stand on.

It’s such a shame that they messed up. Until that point they had performed a good and valuable job for bands and fans seemed to have a genuine affection and trust for them.

Will you see any of the money that fans had already laid out?

We were so lucky. As we were less than a couple of days in no one’s credit card had been charged. I think in any case the law is that if you don’t get something you pay for on a credit card then Visa, Mastercard or whoever have to give you your money back.


Where are you now with the album release?  Is it still on target have you had to change your red lines or goals? Did you have to cancel the delivery of the Hot tub or just put it on hold?

The other way in which we were lucky is that having gone through the launch with Pledge we saw what was involved and it’s not rocket science. As with all the other things I was talking about earlier you can learn to do it yourself. I’d just upgraded our website (We use WordPress) to a “premium” service which for £90 a year means we can run our own shop. I think there are other sites, like Music Glue, who offer a similar service. It took me about a week to work out how to put all the stuff we had on Pledge onto our website and essentially do the same. It’s not quite as sophisticated but some people have told me it’s easier to use. And the money goes straight into our Paypal account so everyone can be sure it is going to be spent on the album.

You can look here to see how it works: Order New Album Here

People have been superb in supporting us. We don’t have all our target, so please ask everyone to feel free to pledge for some of the items there, but we have enough to know that the album will be made, even if we have to top it up ourselves. The more we get in, though, the more studio time we have.

We have recorded drums and bass and currently, the long process of recording vocals is underway. I’m getting a truckload of help with that because a line of people have pledged to sing backing vocals which is great.

I seriously think it’s going to be a great album. I’m loving seeing the songs come alive as everyone plays on them. I can’t wait for it to be finished. Probably won’t be till September as it has to be fitted around everything else and we have a load of festivals to play from next month.

This new album does it have a title yet?

We usually chose the title last thing. Quite a few of the songs reflect by advanced years and impending mortality. So I’m toying with the idea of “14 Jolly little songs about Death”. 

Any idea of the songs titles yet or maybe give us a brief outline of what we can expect?  

Three of the songs we already play live. One “For All We Know”, about an actual true encounter with a stranger who convinced me to buy him a drink on the basis that “it could all end tomorrow and you can’t take it with you”. I had a lot of fun with that coming up with various allegories and symbols for kicking the bucket (but not that one).

As with my draft album title, it’s actually a jolly song with the theme of let’s party and let tomorrow look after itself.
Another song is called “Motherf*cker” about a politician I particularly admire (or not!).
“Welcome to My World” is about a guy who wakes up in a strange place “on the wrong side of a bottle” and can’t remember where his car is. Nick Hughes thought I’d written it about him!
I think it will be the usual mix of melodic rockers and slower songs, all brilliantly written with smart lyrics, plentiful harmonies and a couple of musical surprises.
Great stuff. Anything else have you been busy doing I saw you posted pictures of a re-press?
We have an updated rerelease of ‘Little Big Head’ coming out with unreleased bonus tracks and a new cover.
So there you have it.  The sharp end of being an independent artist in 2019. What doesn’t kill you only makes you stronger or something like that.  Its always a pleasure catching up with Mr. Reid and his infectious enthusiasm and I hope you can find it to support the making of this new record and look forward to seeing him and his band play sometime soon  – Always a pleasure never a chore.