An 8-disc box set – 7 x CDs + DVD – all of the Skydog label’s Iggy and the Stooges releases.  Includes the infamous ‘Metallic KO’ ‘Stooges last live show’ issued in ‘76, plus the two full source shows.  Rare studio and live collections ‘We Are Not Talking About Commercial Sh!t’ and ‘Wake Up, Suckers!’.  A DVD of unique Iggy ‘Acoustics KO’ performances together with a studio ‘Acoustics KO’ CD.  The 2003 Stooges reunion live album ‘Telluric Chaos’ recorded in Japan.  Plus, additional EP tracks, together with a 48-page booklet and detailed notes by Iggy Pop biographer, Paul Trynka

When the riotous, confrontational ‘last ever’ Iggy & the Stooges gig Metallic KO was issued in 1976 on the French indie Skydog label, it heralded the punk movement and cemented Iggy’s position in it.  Iggy’s career then took off, and a lengthy liaison between Skydog and Iggy Pop continued, with releases through and beyond the Stooges reunion 29 years later.

Here are all of the Skydog label’s Iggy releases, remastered, in a clam-shell box set containing seven CDs and a DVD – a fitting tribute to the label’s punk pioneer boss Marc Zermati, who passed away in June.  Marc started Skydog in 1973, Europe’s first independent rock label, and in the same year that Metallic KO was released he organised the ‘First Punk Festival’ in Mont de Marsan.  He worked closely with The Clash, Johnny Thunders, Wilko Johnson and Chrissie Hynde amongst many others.

Alongside Metallic KO the box includes the two Metallic KO source tape gigs, pitch-corrected after a tape speed fault was discovered; two collections of live and studio rare songs; unusual Iggy acoustic shows on DVD; a studio acoustic CD and the Stooges long-awaited 2003 live reunion in Tokyo.  The 48-page booklet has notes by Paul Trynka, the Iggy Pop ‘Open Up and Bleed’ biographer and former Mojo editor, and rare and unseen photos.

Disc 1. Metallic KO (original album);  2. Metallic KO (1973 Michigan tape);  3. Metallic KO (1974 Michigan tape);  4. We Are Not Talking About Commercial Sh*t;  5. Wake Up Suckers;  6. Acoustics KO live NTSC DVD;  7. Acoustics KO studio CD;  8. Telluric Chaos – reformed Stooges live in Tokyo in 2003.

EP tracks are added as bonus tracks.

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

 

Alvin Gibbs managed to pen one of my favourite books ever when he wrote about his adventures on the road with Iggy Pop.  Apart from it being a time in my life when I tried to absorb as much music and everything around it that was humanly possible it was also a record that I adored and a line up of Iggys that was incredible so all the stars aligned and Alvin managed to encapsulate the same feelings when his pen hit the paper so, when Tome & Metre said they were releasing his autobiography I ready Neighbourhood Threat, again and waited in excitement for the book to land on my doormat.  I’ve read it twice now and felt intimidated about writing my review for several reasons.  How can I pay Alvin the respect he deserves as a musician (one that I greatly admire and whose work I’ve followed from the Mid ’80s) and as an accomplished and excellent writer. I came to the conclusion that I couldn’t meet my expectations but if my words help one person read his book then job done so here goes.
Alvin doesn’t labour over the detail as I suspect most don’t want to know about the finer details of his childhood but an overview is provided and certain memories relaid to paint a picture. Its the birth into what would become the punk scene is where we begin our captive participation and Alvin gives his background and shines a light on his days with Brian James as the tales from behind the curtain begin to unfold and I find myself digging up the records that relate to the chapters as something of a background especially when Alvin talks about the recordings of ‘Diminished Responsibilities’ and ‘Endangered Species’ and it sort of opens up another dimension to what you’re hearing as the pages get turned.
Alvin is a fantastic writer and his education obviously helps with his descriptions and use of the English Language which I’m sure he’ll come to in vol two! but his relationships with his bandmates and the respect he has for band members and fellow musicians he’s shared a hotel, bus, plane and beer with also shines through as does his respect for the fine art he finds himself dedicating his life to.  Alvin doesn’t shy away from his flaws either and there is no airbrushing of incidents and behaviours that he might not look back on with 20/20 hindsight and offer scant hollow apologies and neither does he try and explain them away or blame others.  
What you get is the feeling that his life is a life worth living and one that has seen the vast changes in an industry and he’s seen the highs and the not so great highs but has taken them all as part of his education and life journey there are passages that made me laugh out loud as well as wonder what the other parties felt.
Obviously I can’t recommend this book highly enough but not just for fans of The UK Subs, Iggy Pop, Cheap & Nasty but for anyone who appreciates a well-written book by someone who writes with passion, honesty and fantastic use of the language – you get a snapshot of what it was like being part of a club that enjoyed some of the trappings of being a good-sized band in the ’80s and beyond about how the shark pool that is the music business works and how cutthroat it is and an ability to dust yourself down and fly by the seat of your pants (quite literally at times it would seem) and live your life with a mindset or joie de vivre that most 9-5 people would ever understand and people like Alvin do it for the rest of us, they’re modern-day pioneers, crusaders, adventurers, pirates even.
We need people like Alvin to document their time on this earth and show us what it was really like inside the beast of Rock and Roll. As soon as I got to the last words I began to wonder how long before we get Volume two? I get the feeling that Volume one might just have been the starter and the main course is to follow so strap yourselves in kids this is set to get way more exciting.  Absorbing, passionate and another mightily impressive book from the talented Mr Gibbs. Alvin’s life as a UK Sub is set to continue but his story is one we all need to read as he’s managed to eclipse ‘Neighbourhood Threat’ we’ve gotten to meet the man and understand his politics and what makes him tick and from my point of view have even more respect for one of the finest craftsmen in his chosen field. Musician, Songwriter, Author and a thoroughly good bloke, Alvin Gibbs I salute you and urge anyone whos made it thus far into my ramblings to click the link and order a copy of this book you won’t regret it for a second.

 

Buy ‘Diminished Responsibility’ Here

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Author: Dom Daley

Armed with a venomous swagger The Heat Inc. release their debut single ‘Raptors’, a caustic slice of vitriolic rock’n’roll through Melted Dino Records.
 
On this scorching debut, The Heat Inc. have delivered a visceral thrill, with Alain Johannes (Queens of the Stone Age) hailing ‘Raptors’ as “a perfect rock song.”.
 
Describing themselves as a “Rock and Roll band”, The Heat Inc. recorded ‘Raptors’ in the RYP Recordings Studio in North West London, with Michael Smith (Elvis Costello) producing.

 

So when I say I know rock ’n’ roll when I hear it, you best believe I know rock ’n’ roll when I hear it—and The Heat Inc. are good old-fashioned rock ’n’ roll, just like mother used to hate. You might have a good idea of how great The Heat Inc. sound—but don’t bother because The Heat Inc. are so cool they defy definition. There’s all kinds of heat. There’s the summer hot heat that’ll drive you crazy. There’s the in-ring heel heat that’ll get a wrestler over. And there’s the relentless hard heat that’ll track you down until you’re trapped. But ain’t none of them can compare to The Heat Inc you’re about to hear—and that’s not hyperbole, that’s a fact. Who you gonna believe, me or your own ears?”  exclaims Jeffrey Morgan – Creem journalist and biographer of Alice Cooper and Iggy & The Stooges.
 
The Heat Inc. is the suavest new band around and enough to make most God-fearing rockin’ rollers believe in miracles.
 
To purchase Raptors go to Bandcamp or Stream ‘Raptors’  Here
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It’s that time again, RPM-people, where I dip a retro-futuristic toe into the Pop Culture Schlock archive hoping to find something that will get your nostalgia nubs tingling and have you rushing to the secondary market seller of your choice, PayPal log-in details set to stun.

It’s the cavernous physical media section of the archive that I am plundering on this fine day, fingering a forgotten Eighties flick (that’s if you even knew of it in the first place!) that is more than deserving of the Cult Classic status that appeared desperately out of its reach as the film fell between the cinematic cracks, despite housing exclusive output from hit parade hot properties like Debbie Harry, Iggy Pop, Lou Reed, Cheap Trick, and, erm, Earth, Wind & Fire… but let’s not get ahead of ourselves…

 

1983’s Rock & Rule was the first fully animated feature film produced entirely in Canada. Nelvana, the studio behind it, was founded in 1971 and had reached for the pop culture skies several years later when it contributed to 1978’s much-maligned (long-forgotten if Lucasfilm could have its way) Star Wars Holiday Special; the studio creating the ten-minute animated segment that famously featured the first appearance of Boba Fett, the galaxy’s most-feared bounty hunter (well, until we found out that he was cloned from that bloke off of Shortland Street, at least).

 

Nelvana’s animators were ballpoints-deep in developing an animated feature entitled Drats! when they were approached by producer Ivan Reitman (Ghostbusters, Stripes, Twins) to work on a feature-length movie based on the classic magazine, Heavy Metal. Nelvana nixed the idea in favour of producing its own title. Heavy Metal, the movie, eventually released in 1981, utilised the services of several different animation houses, took around twenty million dollars at the box office, and became a cult classic. Them’s the breaks.

Drats! toiled through a development hell of sorts; originally intended as a more child-friendly Grimm’s fairy tale-like opus, the project was subject to countless changes, from tone to title. Now called Rock & Rule, the project dashed into production without a completed screenplay. Re-writes abounded, characters were changed long after their original footage was completed, the studio had to move location part-way through production, investment dried up, and the production sailed past every deadline. At least Nelvana had the might of MGM/UA behind them. Well, not quite. Boardroom musical chairs at MGM/UA resulted in the suits who had fallen for the animated project being hung out to dry and new suitors, if you could call them that, were less than enamoured with the work as a whole. Cuts were demanded, voice actors replaced, the title changed to Ring Of Power, resulting in the movie being dead on arrival – buried by a studio before it even had a chance to find its audience upon eventual release in 1983. But why? Was it really that bad?

 

Watching Rock & Rule now it’s easy to find fault – the post-apocalyptic tone is diluted too often by comic relief characters more suited to Saturday morning cartoons, and the cuts demanded (two different versions actually exist; American and Canadian) make for a patchy viewing experience – but, as far from perfect as it is, there is plenty on offer for this forgotten film to warrant rediscovery. It is, however, the rock and roll of Rock & Rule that will be of the greatest interest to RPM readers.

The story in a nutshell: on a post-apocalyptic Earth where the population has mutated from rodents to human form, a legendary super rocker, named Mok, resides in Nuke York and is obsessed with an evil experiment that will bring forth a demon from another dimension. To do this he needs to find an angelic voice to sing a certain combination of notes. Meanwhile, in a seedy club, a fledgling rock band has a keyboard player just finding her voice. Her name? Angel…

 

Mok was originally to be named ‘Mok Swagger’ until the talent representation of Mick Jagger objected. How did they know at such an early stage of development? Well, the Rolling Stones frontman was considered for the role of Mok (no doubt why the animated character has lips-a-plenty), as were David Bowie, Sting, Michael Jackson, and Tim Curry. Don Francks – who had provided the voice for Boba Fett in the aforementioned Holiday Special animated sequence – was eventually cast as Mok, although the character’s musical sequences were performed by none other than Lou Reed.

 

Who could provide that angelic voice, though? Well, voice-over veteran Susan Roman was cast as Angel, but the character’s potentially demon-inducing singing voice was provided by Debbie Harry. Add to these that fact that Angel’s bandmate, Omar, had a singing voice provided by Cheap Trick’s Robin Zander, and the one-and-only Iggy Pop voiced the thing from another dimension, and you have a proper rock ‘n’ roll curio almost certain to be missing from many a collection.

‘Angel’s Song’ is, in fact, an early version of the song, ‘Maybe For Sure’, that would appear on Harry’s 1989 solo album, ‘Def, Dumb & Blonde’. This was just one of three songs written by Harry and fellow Blondie founder, Chris Stein, for the movie; the others being ‘Invocation Song’ and ‘Send Love Through’, the version of the latter featured at the climax containing lead vocals by both Debbie Harry and Robin Zander. Zander’s Cheap Trick bandmate, Rick Nielsen, penned three tunes for the movie (‘Born To Raise Hell’, ‘I’m The Man’, and ‘Ohm Sweet Ohm’), Lou Reed two (‘Triumph’ and ‘My Name Is Mok’), and Iggy Pop just the one (‘Pain & Suffering’). It’s the Earth, Wind & Fire tune that you want to know about though, right? Well, ‘Dance, Dance, Dance’ plays out in a neo-disco scene set at Club 666. Now you’re interested!

 

Arthouse cinemas and film festivals provided the only opportunities to view Rock & Rule after its initial flop at release, aside from a rare mid-eighties airing on Canadian television, where it was promoted as a music special rather than an animated feature. Eventual home video releases on video cassette and laserdisc finally allowed the movie to find something of an audience until, in more recent times, a long-awaited double DVD release presented an anamorphic widescreen version to curious viewers and collectors alike. This digital versatile disc set is now out of print so good luck in finding a copy. I did, and it now resides in the Pop Culture Schlock archive where another curious item lies waiting to be fingered for my next RPM column…

 

Until then, keep watching the skies!

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Author: Gaz Tidey

For the last two years, The Lovely Eggs have sat back and watched England and the rest of the planet slowly eat itself. Their new album ‘I am Moron’ is the result of their observations, a relentless analysis of a modern culture that is bringing the world to its knees.

‘This Decision’ is the first taste of that new album – an outright attack on greed and mindless consumerism and a fierce defence of a no-frills lifestyle they have chosen to pursue. ‘This Decision’ goes further than capturing the zeitgeist of Brexit Britain. It’s about choice and the lack of choice in society. This decision is all mine. Is it?

 

Today we get to see the video for ‘This Decision’, a song that has already been supported on the airwaves by broadcasters of fine taste such as Iggy Pop, Marc Riley, Steve Lamacq, Chris Hawkins, Tom Robinson and John Kennedy at Radio X and the swirling, cacophony of images and psychedelic psychosis resonating from the video perfectly represent the song’s seething two-minute-and-fifty-seconds of rage.

 

“For the video we wanted something with the pedal to the frigging floor,” explains frontwoman Holly Ross. “The track is pretty intense so we wanted something to match that and to take a pop at the moronic relentless capitalist culture that we’re surrounded by these days.”

 

‘I am Moron’ is the follow up to their critically acclaimed 2017 album ‘This is Eggland’. It is their second album co-produced and mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) and continues their journey through Eggland into the unknown.

 

Throughout their 13-year career, The Lovely Eggs have embraced isolation. Both metaphorically and geographically the married couple have chosen to shun the social conventions of normal life and dedicated their band and their life to the pursuit of what feels right.

 

Operating out of their hometown of Lancaster, The Lovely Eggs are lonely pioneers and self-confessed kings of idiocy. Working in an industry whose currency is money, success and nepotism, The Lovely Eggs want none of it. They call out everything fake and plastic about the music industry and demand you to re-evaluate on their terms.

 

They’re undoubtedly the most real band in Britain, operating in a world when true authenticity is hard to find. They have also spent more time on hold to the Working Tax credit hotline than any other band on the planet.

 

‘I Am Moron’ was self recorded by the band in Lancaster (“The Twin Peaks of Northern England”) between Lancaster Musicians Co-op and their home. During the recording, Lancaster Musicians Co-op was threatened with closure, so the band put their album on hold to fight the eviction.

 

While the band were writing the album, they became fascinated by the Mars One program- a global project which aims to establish a permanent human settlement on Mars. Applicants are offered a one-way ticket- never to see earth again. This fascinated Holly and David who drew parallels between this mission and their own isolation as a band.

 

Continuing the heaviness of ‘This is Eggland’. ‘I am Moron’ brings more depth to their sound bringing with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one-way space mission. While in contrast, ‘Insect Repellent’ launches a gonzo-style attack against the middle classes and Bearpit questions the essence of working-class freedom.

 

With no booking agent, manager, record label or publisher The Lovely Eggs are truly independent. And this isn’t due to economics. This is by design. From day one. And support for them is snowballing. They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullshit.

 

Their songs have been produced by Gruff Rhys (Super Furry Animals), remixed by Tjinder Singh (Cornershop) and sampled by Zane Lowe for Scroobius Pip. With releases in the UK, Europe, USA and Japan, The Lovely Eggs have played hundreds of gigs around the UK, USA and Europe.

 

Released on limited edition 7” vinyl and accompanied by mind melting artwork designed by Casey Raymond, This Decision is a powerful harsh hit at reality. The Lovely Eggs say it how it is. They’ve never been afraid to swim against the current and now they’ve got an army of fans behind them.

 

Welcome to their world. This Is Eggland!

Catch The Lovely Eggs live in April 2020 for the ‘I am Moron’ UK album tour:

 

April 2020

Thur 9                        The Cluny, Newcastle

Fri 10              The Brudenell Social Club, Leeds *SOLD OUT*

Sat 11                         The Castle and Falcon, Birmingham

Sun 12                        The Bullingdon, Oxford

Mon 13           The Fleece, Bristol

Tues 14          The Loft, Southampton

Wed 15           The Portland Arms, Cambridge *SOLD OUT*

Thur 16          Komedia, Brighton

Fri 17              The Garage, London

Sat 18             Gorilla, Manchester *SOLD OUT*

 

May 2020

Fri 1                The Mash House, Edinburgh

Sat 2                CCA, Glasgow

 

Tickets available HERE:

 

Order the This Decision single HERE:

Physical pre-order link HERE:

 

Find The Lovely Eggs online at:

 

WEBSITE

FACEBOOK

TWITTER

INSTAGRAM

 

Until recently you’d have thought punk rock was invented by Malcolm McLaren and Bernie Rhodes and that’s about it nobody else was involved and the history books also tend to gloss over the real nuts and bolts and the details that really matter but those who know really do know.  Punk wasn’t invented by chancers or clothes shop owners it was invented by kids on both sides of the Atlantic who felt forgotten and lost and had something to rally against and one of the biggest magnets of the scene happens to have been one Brian James.  From the gushing introduction from Henry Rollins something of a punk rock fact nurd who actually puts things into perspective.  James deserves respect and with respect has carved one hell of a catalogue of work and reinvented himself several times and was a success every time.  I’m delighted to have this book in my hands and feast on the details and exquisite picture catalogue Wombat has amassed.

Brian was a visionary and someone people wanted to be around as this book will testify sure he borrowed heavily from the likes of Richards and Ashton and those Mc5s but he didn’t just copy them he went away and created a new sound and style that exploded for a brief second in time and the ripples are still being felt in and around our little corner of the world where music matters and not just being the first to this or that Brian made records that mattered and was above all life-changing and life-affirming.  This biography tells Brian’s story from dingy basements to where he is today still creating and everything in between.

I don’t want to tell Brians story (He’ll do that when he finally releases his autobiography) in the interim Wombat (who also has some excellent books on Johnny Thunders and Bryan Gregory & The Cramps) has gathered painstakingly some fantastic anecdotal memories and pictures to open up Brians world in music to the reader who if your a fan of all or many of Brians works you’ll find this a real treat. If you’re looking for the true embodiment of punk rock then you’ve found the holy grail Brian James is punk rock and as he said himself he didn’t do this for fame or fortune he did it because its the only thing he ever wanted to do and still is!  That warms the cockles of my heart and confirms what I’ve always known.  Brian James is a legend.

The book starts off right at the beginning and with a classic cowboy picture of James as a nipper and takes you through the various periods of his life – It’s not overly indulgent and keeps things brief but you do get a good picture of where he comes from and the man himself his first meeting with Johnny Thunders, Breaking up the Damned, the Pistols, Anarchy tour its all covered but just giving a brief outline and not reaching into minute details unlike many books on the subject of say the Anarchy Tour it was only a few weeks of one year move on people, please.

The book flows well and some of the pictures are fantastic as are a lot of the clips of tickets and bill posters that are reproduced which is really nice for us anoraks. The stuff around the Brains and Tanz Der Youth period then into Brians thoughts on touring with Iggy on ‘Soldiers’ and ‘New Values’ is great stuff but I wanted to get to the Lords stuff and it doesn’t disappoint with some fantastic pictures spread out over many pages then chapter seven and the Lords with some great insight from Dave (Treganna) and roadie and friend Ivor who knocked out one of the best quotes in the book when he is explaining that the band were forever on tour and they were indeed heady wild times and he’d tuned Brians guitars more times than Brian ever had Dave summary of recording ‘Like A Virgin’ is succinct and the picture taken from the photoshoot is hilarious. I could read about the Lords all day and night to me they were one of the magical bands in my lifetime and along with Hanoi Rocks will always hold a special place.

If you’re a fan then what’s not to like its an easy read and the pictures are great. John wombat has done a sterling job and pulled together a very readable book of one of my musical Heroes and on finishing this it’s only cemented my initial fanboy thoughts go to the link and click and pick up a copy you won’t regret it at all.  Now Mr. James get on with the autobiography this has only whet my appetite for more ramblings and pictures. buy it!

 

Buy ‘The authorised Biography Of Brian James’ Here

John Wombat

Tickets Here

The EFG London Jazz Festival is thrilled to welcome the legendary Iggy Pop to Barbican this November, in a UK exclusive performance of his critically acclaimed new album, Free.

‘Iggy Pop has delivered one of the most singular and interesting records of his long career.’(Consequence of Sound)

From breaking new grounds in punk rock with The Stooges to his radio show at BBC 6 Music, Iggy Pop has always challenged norms, defied expectations and has been a major influence on countless musicians from a wide range of genres.

Building on years of jazz collaborations with the likes of Medeski Martin and Wood, as well as on Jamie Saft, Steve Swallow and Bobby Previte’s Loneliness Road, and his jazz, chanson and literature influenced 2009 album Préliminaires, Pop takes the lead role in Free, described as ‘irresistible, loose, thoughtful and free-wheeling – a dreamy and sparse soundscape‘ (★★★★ by The Independent.)

‘Free is a liberating collection that unshackles the star from his past and his insecurities, and slowly cracks open a door to version of the future that will inevitably arrive when he’s ready. Wherever that journey takes him in this phase of his career, it’ll be an honour to witness.’  (★★★★ NME)

 

You can forget about your boot boy Glam of Guida or any other pretenders who think they have their finger on the pulse of ’70s glam rock vibe because there can be only one at the top of the pile and quite frankly that’s Gyasi. From the opening intro and lyric come the wise words “if you can’t hide it hang bells on it, Baby!” Hell yeah! we’re off.

With a trashy tempo ‘Colourful’ is up and running. The title track is up next with its big strumming acoustic guitar holding the rhythm along with handclaps and some sweet organ toots its glam alright like when the 60s turned into the 70s and it was all about the music.  Excellent stuff.

As the record goes from a fruity early Joe Perry like riff or the Zep inspired ‘Young Love’ to the out and out glam of ‘Tongue Tied’ the band kick back and mix up some classic Lower East Side rock and roll al a Lou Reed stylings on ‘Blackstrap’ its got some lush horns and matching riff which makes for an interesting and enjoyable cocktail for sure.

To be fair this album has ten really good tunes it might not necessarily make album of the year it is full of solid rock and roll songs that are well written and well played and borrow bits and pieces from the good and the great from a bygone era – given a dust down and remodeled with extra feathers is always going to go down well around here.  I do like what they bring on ‘Bring Your Love’ mixing up the acoustic and electric guitars and summoning the spirit of prime time Robert Plant draws on some classic trippy rock as well. ‘Nightcrawl’ has a cool organ rasping away on the intro like John Lord in platforms and feathers with a nice line in nail polish and listening to classic Iggy Pop when he went to Berlin for inspiration.

Saving the best until the end ‘Kiss Kiss’ is a piano tonkin’ sax blowing romp that the Dolls would have been proud of and ‘Little Tramp’ is sitting crossed legged with only ‘Hunky Dory’ for companionship atop of a mountain.  great record go pick it up glam slammers.

Author: Dom Daley

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Buy Androgyne Here