The Fuzztones Celebrate Their 40 Year Anniversary With A Heartfelt Love Letter To Their Home City of yup, you guessed it Noo Yawk City.

When I checked the track list I did a double take as I thumbed down the tracks wondering how these purveyors of wee small hors garage rockers were going to take on the tunes or had I just imagined that Rudi had finally lost his shit and gone for songs I’ve never heard but on the first play, I was on my feet shaking my head grooving like a good un because God damn it Them Fuzztones had only gone and knocked this one out of the park and just when you thought they’d bitten off more than they could chew they would only go and raise the bar a little higher. I mean c’mon, sure going for The Fugs is something I could see, or even the fine rendition of ‘Dancing Barefoot’ closing off the record is done with the utmost respect and perfectly in keeping with the idea that The Fuzztones were going to own this record take these songs and lovingly recreate them into their own unique fuzzed up slice of the big apple.

Opening with a Sinatra classic and making it jive and groove will raise an eyebrow and get people talking but hitting Wayne County ‘Flip Your Wig’ was perhaps more predictable and with the familiar Fuzztones organ honking away towards the chorus its a decent stab but its quite safe. Again The fuzztones tackling the Cramps is a no-brainer and ‘New Kind Of Kick’ is respectfully carved up.

Hold onto your hats kids because their reconstruction of The Ramones ’53rd & 3rd’ is spectacular and I love it.  they’ve nailed the chorus and the vocal delivery from Protrudi is brilliant. ‘Psilocybe’ is spooktacular and then the band let their collective hair down and crack open the harmonica on ‘Skin Flowers’.

I guess the songs I gravitated to the most were The Dead Boys and Dolls tracks so when I heard ‘High Tension Wire’ begin I sat back and appreciated that Rudi and the gang had really excelled on this one with a particularly good vocal. Sure ‘Babylon’ had the organs turned up to eleven and a suitably trashy take on a classic is duly delivered.

Its fair to say I was a bit surprised to see a Blue Oyster Cult track nestled in between some classics and its dwarfed by the version of Mink De Villes ‘Let Me Dream’ which I think pips the original for the groovy guitar work and the harmonica is excellent and whisper it but Rudi Petrudi is having a ball with the vocals.

‘Microdot’ is a take on ‘Chinese Rocks’ and given a royal garage psychedelic wipe down. but the one track I wanted to be done well more than any on offer here was the Dead Boys ‘ Not Anymore’ and its twisted a little by being sped up but the haunting feel is still intact and the lyrics still sound amazing. Could The Fuzztones all take a bow here because they’ve really stepped up here and the reconstructing of some seriously classic songs has really worked well. Leaving only the Johnny Thunders and The Heartbreakers rare track ‘You Gotta Lose’ being worked over out the back yard with only a switchblade knife between the original and this take and then ‘Dancing Barefoot’ wafts in on a cloud of mysterious substances like some ’60s black and white B movie.

Protrudi & Co have sealed this l-u-v letter with a kiss and swanned off having taken their curtain call and been called back for an encore that they throughly deserve.  To be fair they’ve owned each and every song here and have goven every one the Fuzztones make over and come up trumps because to cover a song and do it justice is a tricky thing but to do it for a whole album is really taking a risk and for and The Fuzztones deserve to own these classics – #Never forget your roots kids and never forget to tip your hat to those who paved the way and gave you the lifeblood coursing through your veins.  The Fuzztones – ‘NYC’ was never in doubt, was it.  Rudi, the Big Apple loves ya man it’s at the core of what you do and you’ve paid your respect in the best most fuzzed-up way. – Buy It!

Buy ‘NYC’ Here

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Author: Dom Daley

August the 8th 1970.  The last time the original powerhouse machine that is The Stooges took to a stage. August 2020 sees it hit the shelves on record and a nice slab of heavyweight vinyl it is too without all the finer niceties of modern recordings this is straight from the desk loud as fuck! With Iggy being the last man standing I bet that wasn’t something many people would have uttered 50 years ago.

With a $15 to $20 price tag on tickets for this festival that would have had Savoy Brown, Jethro Tull, Joe Cocker, Chicago and Alice Cooper on the bill way above The mighty Stooges.  it must have been a bummer to have had to go on after this aural assault had long left the stage.  Whilst it might not be the finest soundboard mix ever you get the emotion of the band playing as both Brothers Asheton are kicking up a shitstorm of rage and intense musicianship especially on songs like ‘TV Eye’ and an inspirational performance on ‘Dirt’ but you keep being sidetracked by Alexanders bass as it takes a wobble especially through the amazing solo it might be hindsight knowing what happened but his falling apart does happen, It must have been a jaw-dropping spectacle yet little did the punters know this would be the last time this five would take the stage with Dave Alexander being fired.

In a day when bands play albums in their entirety and sell out venues, the Stooges were doing it in 1970.  By the time you get to the title track that huge throbbing hypnotic bassline but the reality is its a mess, and you can see why Iggy might have been pissed, seeing as there were a reported 200K in attendance and it must have been mindblowing hearing this as Mackay’s saxophone is causing hypertension on what I would say is one of the finest song ever penned, by anyone, anywhere at any time it’s a royale maelstrom of noise here, a beautiful noise by the way and with Mr. Pop barking out the words over the top the PA sounds like it’s about to ignite at any minute. as the sax and guitar duke it out even if the tape goes a bit wobbly which is such a shame it sounded magnificent.

 

Its believed that this performance was almost the cause of a full-on riot and hundreds charged the stage and began dismantling it after the Stooges left the stage it’s not hard to see how that could be on this performance and having the plug pulled on your set only enhances The Stooges legend anyway.  Thanks to Jack White and his label for making this release possible as it’s believed that MR Pop isn’t enamored but hey its been worth the wait and even MR Pop would have to agree that for a document in musical history this needed to be preserved and something he could and should be immensely proud to be a part of.

If the Funhouse complete is way out of your price range and you love that record and the band then this is a no brainer and well worth the price of admission in anyone’s book. Awesome.

Buy ‘Live At Goose Lake’ Here

Author: Dom Daley

 

If Godzilla was Swedish he’d be playing hard, fast and nasty rock & roll in a band just like Scumbag Millionaire. He may even grow a moustache and change his name to Max.

Now you’ve got the picture, let me introduce you to “Poor and Infamous”, the second long-player from these four Gothenburg gutter deviants. The record that’ll get you safely through the rest of this Covid craziness.

From full-throttle opener, “Demi-God” to sleazoid closer “One For The Road”, “Poor and Infamous” is an ass-kicking classic. Think early ‘copters (obvs), think classic Motorhead and you’re almost halfway there. Where ever there is !?!

Lead single “Ain’t No Doubt” is everything The Backyard Babies used to be, totally Total 13 and a bang on dyed in the wool classic. Check out the video.

“You Had It Coming” gets a little Mick Taylor-era Stones groove on, while “Chasing Dawn” pummels you in the ears into submission.

The distorted bass intro to“Put A Price On My Soul” is pure Boss DS1 magic courtesy of the legendary Sunlight Studio.  Tomas Skogsberg’s production is spot on, the man is the Phil Spector of the garage punk metal universe.

“Desperado” is a monster. A face-fucking distorted onslaught.

“Subterranean Twist” reminds me of the early Scumbag singles (check out US compilation “Fast Track Big Pack” if you missed them).

“Highway Blues” calls on those super sexy bass tones again. Not as full on as its “Poor and Infamous” bed fellows but it’s a tune that BYB would kill for.

“Trouble City” is pure Motorhead magic and “Dead Man’s Hand” ain’t no slacker either.

Rounding things off with the aforementioned Sea Hags-tastic “One For The Road”, “Poor and Infamous” is simply the bollocks.

Pre-order the album Here on limited transparent magenta vinyl, regular black vinyl or on ye-olde traditional CD.

 

While you’re at it grab the US comp “Fast Track Big Pack” along with debut album “Speed”. You won’t regret it. Guaranteed !!!

 

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Author: Frazer Munro

After a 35+ year hiatus from music, Rob Moss recorded an album of 14 proto-punk-inspired rock ‘n’ roll songs, featuring 14 different lead guitarists, including:

Bob ‘Derwood’ Andrews – Generation X
Nels Cline – Wilco, Nels Cline 4
Don Fleming – Velvet Monkeys, Gumball, Dinosaur Jr
Franz Stahl – Scream, Wool, Foo Fighters
Billy Loosigian – Willie Alexander and the Boom Boom Band
Mario Monterosso – Tav Falco’s Panther Burns
Marshall Keith – The Slickee Boys
Brian Gay – Government Issue
Stuart Casson – Smash Fashion, Dove, The Meatmen
Saul Koll – The Lovesores

In addition to top lead guitar talent, Spit Stix (Fear) drums on two songs and Francesco D’Agnolo (also of Tav Falco’s Panther Burns) plays piano on another.

If Rob’s name is familiar it’s because he was a member of Government Issue and Artificial Peace — two iconic Washington, D.C. hardcore bands.
Looking to get back into the rock ‘n’ roll game, Rob called up old friends and friends of friends to record an album of new material. While a bass player in his past, Rob now plays rhythm guitar and sings lead vocals. From the opening proceedings of ‘Babble Tower’ to the curtain call of ‘Rock n Roll Is Dead’ Rob turns in an impressive array of songs from the confident punch of the opener, Rob calls upon his friends from back in the day to lend a hand and help out a Rock and Roll brutha and the array of talent does just that.
The list of guitarists lending a hand is impressive which also adds some colour to the palet of Robs straight up Dead Boys meets Social Distortion old school punk n roll. Chris Rudolph lets off some steam on ‘Babble Tower’ and straight into ‘Ugly Chair’ that has Rob drawling on a Lou Reed vibe with Saul Koll bending the six strings like a good un.
We take a slight detour on track four and wander through the Coops garden picking up a lick here and a shuffle there sounding like prime time Alice Cooper band is never a bad place to find oneself. Stuart Casson is the player who lends some Roll to the Rock that’s being cooked up. ‘No 48 Crash’ is solid 70s glam as a tip of the hat is made to the lady in leather who no doubt inspired the groove.
If you want another change of gear ‘Oxygenate’ has some classic rock swirling organ for good measure.  I must admit I always love me some sleazy rawk n roll with a snotty dash of punk rock swagger and ‘Real Fine Kitty’ might be generic but I love it and its strut all that’s missing is the horn section tooting surely Rob had a Memphis horn section in his little black book?
Brian Gay turns up for a little tip of the Johnny Thunders handclappin’ rock and roll on ‘A Maltese Falcon’ and when a record has too much Johnny Thunders licks on it I’m tapping out as well.
The track I anticipated the most was the final knocking with Former Gen X band member Bob ‘Derwood’ Andrews who to be fair plays the song and doesn’t use it to jerk out a bazillion notes where they’re not needed and besides he has the cowbell going on as well and when has a record ever had too much cowbell? Exactly.  Andrews is a fine addition but cmon guys ‘Rock and Roll Is Dead’?  Never, not on my watch and not on the watch of Rob Moss & Skin Tight Skin either.  If you still believe in punk rock and roll with swagger and plenty of ’70s inspired glam rock then what are you waiting for hit the link and pick it up.
Pick up the album Here

Make No Mistake I’ve got a lot of time for London Rockers Neon Animal and their first album had moments where they showed confidence and played like they had it going on and they could certainly be the next big thing and wouldn’t just be one of those bands where only a few remembered the name let alone any of their songs.

Album number two is here and ‘Make No Mistake’ is something of a giant leap for me and that hype and confidence might just be about to be realised and they now have the songs to go with the look and they are talking the talk and walking the walk.

There’s more to this record than being posers who site influences from the downright cool to the downright premier league of recording artists. It’s not a record of garagy punk rock there’s more going on here and the new Neon Animal is certainly a different beast this time around. It might well be heavier, dirtier, broader than the debut and throughout the albums nine new tracks its a more confident more expansive record that explores the time-honoured subject matter of sex, the drugs and the rock ’n’ roll. Sure it’s decadent but it’s quality.

Opening with a really strong track in the shape of ‘Rock and Roll War’ its a statement of intent and has the energy to make you sit up and listen. That heavier tag is evident on ‘Let’s Make The World Rock’ with its simple chorus and biting riff its the breakdown and into that thumping bass riff and solo that lifts this into something quite exciting and Rock and Roll needs that.  Sure its got some garage Rock and Roll going on but it’s mixed with a punk rock bass and hard-rocking riff and it blends really well. There a polished edge to this record but its also rolling on a dirty stage floor and a great example of that is ‘Rock and Roll Suicide’ it’s restrained and is a really well-written song.  Sure it’s not reinventing the wheel or anything but so what that’s for others because Neon Animal are about the here and now and we need some bands to just kick out the jams and ‘Rock and Roll Suicide’ is a real highlight, something you should be hearing on the radio in the middle of the day if there was any justice.

The band get their groove on with a straight-up groove rocker with ‘I Can Tell You Love Me’ man they make me blush it’s like overhearing a dirty conversation between two lusty teens and the mix of sleazy funk and rock is infectious,  You won’t be hearing this on any radio station I know that!

The band introduce some big acoustic guitars for the sunshine of ‘Hello L.A’ a top-down get the beers in the fridge kinda Bowie influenced number. Something quite different from the rest of the louder songs but a very nice sidestep into something altogether more ’70s glam and who isn’t down with that?

The album closes with the dark ‘Broken Mirror’ it’s like a Soho late-night mini-opera from a bygone era as it twists and turns another quite different sidestep that is excellent and adds another flavour to this record that is growing and growing the more I play it.  Had it been all riff-ola crash bang wallop then it would have been missing that x-factor but the gear shifts and twists and turns elevate this to something quite special.  Neon Animal might just have arrived and have the tunes to mess with the big boys and throw a big sleazy-glam-garage-rock ripple in the stale pool of Rock and Roll ‘Make No Mistake’ is one hell of a statement piece and I give it my full support.  Get on it kids this is most excellent.

 

Buy ‘Make No Mistake’ Here

Author: Dom Daley

 

Italian rockers Bravata released their debut album ‘Pray for Today’ in May 2020 – as with so many bands, a very unfortunate time to release an album. However, the result is an accomplished, catchy collection of songs.

The Lecce-based band seem to effortlessly mix 70s American rock and roll with British-style Brit pop and beat, perhaps most notable in the song ‘Magpie’. There’s as much to remind me a little of New York Dolls as there is Suede, but the delivery is certainly not as hard as either. Offering up well-crafted songs with a laid back delivery, the album chimes easily from one song to the next, making each one a delightful pill to swallow.

It’s an easy album to get hooked on. While it’s punk rock and roll that drives it, it’s heavily layered with pop melodies and harmonies. The garage-infused title track is about as hard as it gets, whereas ‘I Don’t Know’ has a great The Cure-esque lead guitar hook and multiple harmonies. ‘Generate’ carries a bit of a darker sounds and definitely a highlight on the album.

Bravata traverse a lot of complementary genres to achieve these thoroughly enjoyable 10 tracks. They certainly do know how to craft a decent song or two.

Buy ‘Pray For Today’ Here

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Author: Craggy Collyde

 One of the best things about doing this website is hearing new music you possibly would never have come across if you’re not being sent emails, speaking to people who suggest a band they’ve come across or a band they’ve heard live somewhere around this beautiful globe. Besides during this lockdown whilst everything seems to have hit pause or slowed right down it has given us time to sniff out some great new bands and records getting released and one of those bands and records has to be this lot from Toulouse.

 

whilst that name didn’t exactly strike me as a grat name as soon as the sounds hit the ether I sat back and listened and inevitably turned it up,  then turned it up a bit more.  sure they use Rickenbackers and wear rollnecks and Winkel pickers because these cats play Garage Fuzzed up Rock and Roll and do it exceedingly well and it came as no surprise to find out they shared the stage with the likes of RPM favs The Lords Of Altamont and toured the States a few years ago with the likes of The Real Kids and were due to play with The Sonics.  So they demand to be taken seriously.

The album was recorded and produced by Jim Diamond (White Stripes, Bellrays, The Sonics, The Fleshtones…) and they have that slightly reverbed production that’s raw and savage and has all that fuzzed up charm you want to hear from a Garage Rock record.

To see they shared a stage with the likes of The Lords Of Altamont will come as a good yardstick for people who’ve never come across the guys before because I’m reminded of them on songs like ‘No No No’ with its energy and sound. Another band I’m reminded of would be some of the earlier recordings from The Hip Priests they may not be as fast and certainly not as potty-mouthed but that attack is there on tracks like ‘Breaking Down’ and ‘Run Run Run’.  They really get on a groove for a lot of the songs and tub thumpers like ‘Don’t Need You’ are more traditional garage maybe steering clear of that classic Hammond or Farfisa organ whirling would be too much for these punks whist with one Cuban heel in the garage the other is in snotty fuck you loud Rock and Roll the likes of MC5 peddled and that’s always going to go down well around here. You can lob in a grenade of Motorhead to proceedings but only when they were a three-piece with Philthy and Fast Eddy as ‘Don’t You Try’ will testify its a formidable racket when you turn up those amps and just go for it.

From top til the bottom, this is a pretty relentless record where you’ve not got a slowie just to break it up its full-tilt zero bullshit and the sleazy ‘Fall For You’ is a great groove to set up the finale on and that finale is the cliched ballad,  Oh no it’s not.  Of Course it isn’t ‘Gonna Get You’ is a fine sign off of energy being expelled before the smoke finally gets wafted from the speaker that will smoke long after this has finished.  Take a break, lie down in a darkened room then get back on it.  Turn it up and kick out those jams motherfuckers!

 

Buy ‘On The Run’ Here

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Author: Dom Daley

Before I start this review I have a confession to make, I’m a bit of a fan of the Fuzztones, Lysergic Emanations has been played to death as have virtually every other LP in their back catalogue, and my excitement levels went through the roof when this baby landed in my inbox, especially with the accompanying record company Blurb.

 

“The Real Sound of “In Heat“: the disclaimer on the album states, “NOT produced by Shel Talmy” (The Who, Kinks). The original version of the album “In Heat” as it was intended to sound.”

 

For the uninitiated, THE FUZZTONES have been around for over 30 years, call them under-ground, call them psychedelic?  Call them the band that brought Garage Rock back into fashion.  Though originally from New York City, they were massively embraced by Europe, where the fuzzed out retro vibe really hits home. Now remember when In Heat first came out it was back in 1989 at the peak of the garage revival, when bands like the Chesterfield Kings, Lyres and Cynics were all the rage.

 

So here we go polished up, fuzzed out re-mastered and everything you could want from a modern day masterpiece, as this now sounds. What hits you straight away is how fresh it now sounds, and on first listen there are things that jump out for example “What you don’t know” comes from that classic Lords of the New Church Blueprint, before it takes off and moves into a huge guitar laden climax.

 

As I’m pulling thoughts together, smiling to myself, influences start to come to mind, Chocolate Watch Band, 13TH Floor Elevators, Strawberry Alarm clock from the psychedelic sixties, early 70’s, but blend them into a Stooges led Iggy, add in a definite punk rock and roll attitude “ala” the Cramps and you end up with the classic “In Heat”, worth buying the LP for this track alone!!! I mean any tracks with the opening lyric “I’m a big bad wolf, can’t you here me howl?’ how much more rock and roll could you be.

 

This LP deserves a place in every ones collection!! the swamp boogie, New Orleans sound of “Nine months later” with it’s nod to the bubblegum pop of the 60’s chorus is a real thing of beauty. While  “You must be a witch” is just garage rock perfection, the organ tempered down sitting properly within the song. I suppose this LP keeps drawing me into Cramps style comparisons, if you’re a fan of one then the other will definitely appeal. I could go on talking through the other tracks, but if you’ve read this far, this LP is definitely for you, what an LP, re-mastered, up to date, vibrant and in your face, now lets get them back into the UK preferably with the resurgent Hypnotics on the same bill, what a double header that would be, Happy days.

But ‘Raw Heat’ Here

Author: Nev Brooks

 

Released on April 4th those Motherfuckin’ Motherfuckers are at it again this time with a coloured 7″ EP containing four blasts of punked-up Garage Rock and Fuckin’ Roll.

Its three originals and another cover this time it’s ‘Crash Landing’ from the Violent Femmes.  There are only 170 of these bad boys available on coloured vinyl so be quick or be left out in the cold paying silly money on some record auction site in the months to come. Don’t say we didn’t warn ya.

Who are they you say? Four members of two of your favourite bands The Hip Priests and Bitch Queens from Shit Island and Basle Switzerland respectively. after their initial EP that was Fuelled by hangovers, More Lager, Nicotine, Bread and Cheese they tossed out six glorious sonic slices of Primetime, Pedal to the motherfuckin’ metal Overdriven, OD1 Scandi garage noise – smashing strings, skins and yellin’ as if their bullshit lives depended upon it. It was so good they reconvened and did it again first releasing the follow-up single ‘Trillion $ EP’ and now this ‘Dance Motherfucker EP’  so what are you waiting for get on it.

Pre Order Here

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Råttanson LP “I’d Much Rather Be with the Noise” (Open Mind Records) is now available for streaming and download on various platforms. On the menu, this time is a delicious Spectoresque garage pop tune, a mouth-watering musical dish that will take you through the late summer and beyond.

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Råttanson is a Swedish garage rock/power pop/rock’n’roll DIY solo project that has been searching for that god damn rock’n’roll and supreme shakes since 2013. It’s all about three chords, guitars and self-penned tunes. On the fabulous self-produced debut album “Full-scale Shakeability”, released in 2017, Råttanson sang and played all instruments himself, but on the upcoming second album, he’s brought in the drummer extraordinaire Anders from the Turpentines/the HiJackers. The debut album was described as: “It’s like The Monkees on acid at rush hour, sucking in some Barracudas along the way and spitting it all out in the name of garage, beat and rock’n’roll” and the 14 new original songs follow the same explosive and guitar-saturated recipe.