Angeline / We Got The Hits / She / Carolanne / C’mon Pappy / Songwriter / Carry Me / Good Deal Of Love / Beat Generation Poet Turned Assassin / Sunlight
It’s the hottest day on record here in the UK and everyone is melting. The last thing I really want to do is spend the evening in a packed club that is notoriously hot, even in winter. But Living Colour are celebrating 30 years of ‘Vivid’ by playing their debut album top to bottom, and it’s not too often they come to town. So I’m happy to brave the heat and continue to sweat. Hey, its rock ‘n’ roll kids, and I wouldn’t want it any other way!
First up on a 3 band bill we have Wisconsin blues merchant Jared James Nichols. This dude gives me serious hair envy! He looks like John Sykes circa 1988 and plays a black Les Paul like a bluesier Zakk Wylde. In fact, his 3 piece band come across like Wylde’s short lived Pride & Glory project, albeit a blues heavy version. Even heavily tattooed bassist Elvis has double denim, a trucker cap and probably smells of engine oil!
Jared’s unusual playing style sets him apart from his contemporaries. He doesn’t use a pick and yet creates a helluva tone. His voice hits the spot too, it’s raw, bluesy and downright righteous! His rhythm section are solid, and songwise they seem to come from a 70’s classic rock direction. A very British sound, I’m talking early Whitesnake meets Bad Company here.
Now, we all love a bit of Toby Jepson, right? Whether it be Little Angels, fronting Gun or behind the desk producing the likes of Virginmarys. But right now Toby is doing what he loves best and what we love seeing him do, and that’s strapping on a guitar and fronting a new and exciting rock ‘n’ roll band.
Wayward Sons are on the verge of releasing their sophomore second album, and I say ‘sophomore’ without even hearing it, as the tracks played tonight stand tall above their collective output so far to these ears. I like Wayward Sons, they are a solid, traditional rock ‘n’ roll band and live they just get better every time I see them.
Toby is as always an engaging frontman who has the ability to whip up a crowd with ease, he should do, he’s been doing it for over 30 years! With a flying V strapped over his shoulder, he leads his band through a high energy set consisting of road worn tracks from their debut album and a few newbies thrown in for good measure. The likes of opener ‘Alive’ and ‘Ghost’ are early crowd-pleasers that go down a storm.
The title track of their upcoming album ‘The Truth Ain’t What It Used To Be’ is played and sounds very promising, as does brand new single ‘Joke’s On You’. The politically charged, socially aware lyrics make them a band to pay attention to in more ways than one right now.
Backed by a tight unit; guitarist Sam Wood, bassist Nic Wastell, drummer Phil Martini and keyboard player Dave Kemp, Toby Jepson has a tight band behind him that have the energy and the vitality to take them to bigger stages worldwide.
The band play a blinder and win over the Living Colour massive with ease, in fact, I have a suspicion many were here for Wayward Sons as much as Living Colour. Wayward Sons evoke the sound of both ’70s and 80’s rock but still retain a modern edge. To me, they come on like UFO meets Thin Lizzy, although I might be swayed by Nic’s Pete Way stage moves and Sam’s Scott Gorham looks.
We all sweat profusely and the band gives it their all. Toby jokes he’s knackered and Nic has more energy a man of his age should possess. They suffer sound problems and we lose Sam’s guitar for the last few songs, but it doesn’t matter one iota, Wayward Sons triumphed tonight. A band with a growing following and a reputation for great live shows. Expect headline status from now on.
Living Colour has always been one of those bucket list bands I needed to see live and up until a couple of years ago, I thought it would never happen. Yet, I finally did see them play and at my favourite venue too! Now they return to The Brudenall again. It’s not too often a band of this stature plays a club-sized venue and this is a must-see gig for me.
Interestingly, the themes of racism and discrimination that Living Colour blasted out on MTV three decades ago are still prevalent today, if not more so. While ‘Vivid’ was Living Colour’s most successful album, it was not ‘my’ album, that was ‘Stain’, constantly drummed into me by my Living Colour mad brother when it was released. Surprisingly tonight they open with ‘Ignorance Is Bliss’ from that very same album.
As you would expect, the band are as tight as ever. The rhythm section of Will Calhoun and Doug Wimbish are one of the best in the business, the mental guitar histrionics of Vernon Reid are a joy to behold and then we have frontman Corey Glover. One of the most underrated voices in rock ‘n’ roll, a man whose vocals are still as good as they were back in the day.
The aforementioned opener sounds great, the chugging riff, the brooding, yet funky bass and those killer vocals sound fantastic. Nice opener! Corey thanks the appreciative crowd and lets those who don’t already know that tonight is a celebration of an album that came out 30 years ago and they would be playing it in its entirety. As he says, playing a lot of songs they haven’t played in years, but have been playing a lot lately. A great roar of appreciation follows as the intro tape introduces ‘Cult Of Personality’. Their biggest hit is 30 years old and sounds as fresh now as it did back then. We may all be dripping with sweat, but the band is only just warming up. Shit, Corey still has his jacket on for chrissakes!
‘I Wanna Know’ sounds ace, one of my favourite songs off this album actually, great to hear it live. ‘Middleman’ is a masterclass, played with ease as we sing along to the refrain, and the early Chili Peppers feel of ‘Funny Vibe’ just comes across so well live. Hearing these songs, and in order, takes me back to a certain time, it’s a proper nostalgia trip.
For me, the focal point of tonight’s show is bassist Doug Wimbish. Up there with the likes of Billy Sheehan, he has to be one of the best in the business and a cool cat to boot. Some sort of funky bass witch doctor, he conjures up mental, other-worldly noises from his instrument using a combination of pedals and actual magic!
It has to be said the sound tonight is not the best, there is even heckling to get Vernon’s guitar turned up, and while the singer and guitarist make a joke of it, the bassist visibly just wants to get on with the show. Even taking to the mic to say this is a live show, four guys with instruments… it is what it is.
Some of the notes Corey hits are outstanding tonight, as he holds the mic away from him and sings stretching to the limits of his range with ease, you realise he is up there with the likes of Ty Taylor as one of the greatest living soulful vocalists in rock ‘n’ roll right now. Amazing stuff.
‘Open Letter (To A Landlord)’ sounds fantastic and ‘Broken Hearts’ takes things down, full of sentiment and feels. I wonder if they are ever tired of playing a song like ‘Glamour Boys’? It sounds great, although I’m a bit disappointed it wasn’t the calypso version they did last time they played here. They funk things up nicely with the Prince-like ‘What’s Your Favorite Color?’, a personal highlight of the show that hasn’t dated, I fact I think it just improved with age.
Glover and Reid’s onstage banter is great. The pair take the piss out of each other constantly, with Reid leading a “Corey-Corey’ chant to a band mate he calls “the most stylish man in the building”.
No bass solo tonight (thank god!) and for the encore tonight we get an emotive ‘Love Rears Its Ugly Head’ and a killer ‘Elvis Is Dead/Hound Dog’ extended jam out.
The trend of bands playing albums in their entirety is sometimes met with caution. Knowing the setlist beforehand can take away from the expectation or the element of surprise of a live gig, yet other times it works and can just floor you. Tonight was the latter. Also, the growing trend of established, big bands playing intimate venues is alright by me any day of the week (especially in this venue).
Living Colour delivered a masterclass of funk rock tonight. While the sound guy needed slapping (the levels were all over the place) it did not detract from a most excellent set. All three bands were outstanding tonight and all different in their own way. From young guns playing the blues to someone old doing something new, to the established being steeped in nostalgia, it was a top night all round.
Author: Ben Hughes
Hailing from Melbourne Australia Press Club is really working the hard yards and slogging it out on the world tour circuit working hard crafting their place in the scene. With Natalie Foster leaving the stage on empty night after night ably supported by Greg Rietwyk, Frank Lees and Rufio MacRae; Press Club are giving it their best shot with ‘Wasted Energy’ and those hours spent in the van and on stages everywhere are spilled into every groove and track on the album. It seems like only a couple of months ago they were out supporting their debut album and already they’re onto album number two. Good work ethic guys tour, write, record. Its the evolution circle of rock and roll as it used to be.
There’s no easing in gently here its bang – on with the show. ‘Separate Houses’ is up and running. It’s setting the tempo for what’s to come there’s no time like now and no time for fucking about waiting. ‘Dead Or Dying’ is sharp and rattles along with a cool bass line that punches through the melody on the verses as the sprightly tempo raises like Foster’s voice.
‘Thinking About You’ is a more melodic tune. you still have the tightness but the guitar is more chiming and its no surprise to see it as the lead single off the record as its easily accessible to a wider audience. In direct contrast ‘Chosen Ones’ is the other end of the spectrum and is a far more uptempo number. To be fair it’s pretty much the band’s default sound and style but that’s not to say they lack variety because they don’t at times I’m reminded of bands like Joy Division with some of the cold sharp angular guitar attack and then on songs like ‘Get Better’ they just get their heads down and rock out and the album really soars when they hit that groove.
They can also just kick out the jams like on ‘New Year’s Eve’ where the rhythm section gets the job done with aplomb. As the album wears on the penultimate track is the thoughtful ‘Same Mistakes’ which starts off gently and builds towards the chorus (of Sorts) and is one of the standout tracks on a pretty impressive album. Press Club are working hard on their chosen craft and it’s paying dividends in the studio because ‘Wasted Energy’ is a strong outing and one that will see the band reap the rewards.
Buy Wasted Energy Here
Author: Dom Daley
THE DEAD DAISIES ARE LOCKED, LOADED AND READY TO FIRE!! on AUGUST 23RD.
The Dead Daisies pride themselves on being an ass-kicking Rock band very much of today who love to celebrate the history of amazing music. In short, the band are fans of Rock and always will be.
Every one of the bands albums to date has had at least one cover song on it drawn from great songs from all eras, from the early blues greats to the classic rockers and heavy-hitters of later times. So many terrific players, so many immortal words, so many larger-than-life riffs.
“This is a ‘tip of the hat’ to our heroes, bands that influenced us when we use to buy their records as teenagers. Now we’ve put them all on one album and it seriously rocks!! You may think of us as ‘Rock Stars’ but at the end of the day we’re just huge music fans!” – John Corabi
This collection of covers comes together from a long list of some of our favourite tunes, some bonafide classics – or simply songs that made us all smile, sweat and scream, band and audience alike.
These are done Daisies style, with big guitars, big vocals and always a bit of dirt under our collective fingernails, just the way we like it which is why we always love to mix up the setlist and throw them into our live shows.
“Playing these songs live is a total adrenaline rush for all of us. Our audiences go nuts with our Daisified versions of these songs that come from an incredible time in music. It’s our way of paying homage to the ‘greats’ of rock.” – Doug Aldrich
So crank them up as they work better with generous amounts of volume and a huge smile on your face. After all, a great song is a great song. Rock is Indeed alive and well.
Released on August 23rd, 2019, it comes in a suite of formats including DigiPak CD, Coloured Vinyl with CD in paper sleeve, digital download and streaming.
All tracks are remastered for this project with ‘Rockin’ In The Free World (Live)’ and ‘Highway Star (Live)’ being released for the first time ever.
A lot of great musicians have been part of The Dead Daisies over the years. The following musicians can be heard on this album: Doug Aldrich, Jackie Barnes, Deen Castronovo, John Corabi, Richard Fortus, David Lowy, Marco Mendoza, Dizzy Reed, Jon Stevens and Brian Tichy.
Rock Is Indeed Alive And Well!!!
The year is 2004. I’ve just finished school for the summer and I can’t wait to waste the rainy days indoors blasting Kerrang TV. I’ll always remember seeing the music videos for Fat Lip and In Too Deep way way back in the day, they made quite an impression on this edgy little 10-year-old.
It was about a year later when I managed to get the albums All Killer No Filler, Half Hour of Power and Does This Look Infected? (I say get because I had to rely on my old man buying me CD’s, No sales clerk is gonna sell an 11-year-old an album with the opening track “Grab the Devil by the Horns and **** Him up the *** … Oh the curse of parental advisory, I do not miss it.) I can’t remember how many times I had played tracks like Still Waiting, Makes no Difference and Summer but I’m sure the repeat button on my walkman hated me.
Sum 41 are still kicking after all these years however with Order in Decline, their most recent work. We’re greeted with the opening track Turning Away. It’s not how I expected the album to start, put it that way. Catchy riffs and sequences are present, the chorus and the guitar solo (which is killer by the way) add a bit more energy to it but it still feels a bit lackluster as an opening track.
Two of the more stand-out tracks for me have to be Out for Blood and A Death In The Family. Both of these songs are borrowing from the style of the 2004 album Chuck. Not to mention these songs are pretty heavy for a punk band, with double bass beats and riffs that go hard. Around the midsection of the album is where we start to get some of the more groove-oriented tracks such as Heads will Roll and 45 (A Matter of Time). Already in five or so tracks Sum 41 are really showing that they’re not afraid to branch out into a number or different styles and subgenres, showcasing how they’ve developed as musicians over the years. Albeit with the departure of Stevo 32 some years back.
After a brief slow down in tempo and mood with the song Never there, we’re thrust straight back into the groove-fueled Eat You Alive, and then another personal favourite from this record The People Vs… This track is an absolute beast of punk riffs and drumming, Deryck’s vocals really shine on this track due to the grimey punk aesthetic. The final track on the album Catching fire also feels a bit lackluster. I’m not gonna lie it sounds like pop music, but I’m sure there’s something there for every sort of fan, albeit new or old.
All in all this record showcases much of the band’s diversity and how they’ve developed their musical style over the years. There’s something here in this record for everyone, whether you’re a fast-tempo high energy punk fanatic, a groove-heavy rock and roller, or even someone who enjoys the slower types of songs. You’ll be able to find something to enjoy in this album. I do think the track listing feels a little confused, however, Personally I’d have moved some of the songs around just so the album flows a bit better, instead of the more random nature of styles bouncing back and forth as you get deeper into the record. Some might argue that the order of songs are there as “Palate Cleansers” but It’s a bit too much for me personally. As an older fan of Sum 41, I did enjoy the record in whole. It’s great to see a band I grew up with still kicking and still producing great tracks.
Buy Order In Decline Here
Author: Adam Hatherway
The good folk at Runnin’ Blue are putting on a Rock and Roll show in London Town at The Lounge in Archway. The last two shows by Warner E Hodges were sell-outs so to avoid disappointment you can book a ticket at the links provided.
The Warner E Hodges Band are set to play at The Lounge in Archway and this time they have Mudlow in tow and the fantastic talent that is Sarah Vista who has been reviewed in RPM (Here) Some tickets remain and can be purchased Here
Tickets available Here
Warner E Hodges Band Facebook
Sarah Vista Facebook
Runnin’ Blue Promotion Facebook
Today sees the release of the new Michael Monroe single “One Man Gang” from the brand new album out Oct 18th.
The track also features the punk rock legend, Captain Sensible ( The Damned ) as a special guest playing the lead guitar on this one. If you’re into authentic, high-energy Rock’n’Roll you’re gonna dig this one!
Written by Rich Jones. The track features Michael Monroe – lead vocal, Rich Jones & Steve Conte – guitars & vocals, Sami Yaffa -bass, Karl Rockfist – drums, The Captain – guitar solo. ‘One Man Gang’ was also produced by the band.
Arthur Harold Kane Jr. Born February 3, 1949 was best known as the bass guitarist for the Legendry New York Dolls. Kane was an integral part of the band until he was kicked out in 1975., Following the departure of Johnny Thunders and Jerry Nolan.
In 2004, Kane rejoined the surviving Dolls (Johansen and Sylvain Sylvain) to rehearse and play a reunion concert in London, which was the subject of the 2005 documentary New York Doll.
After leaving the Dolls Kane collaborated with Blackie Lawless in Killer Kane, which resulted in the single “Mr. Cool.” Lawless was an old friend from New York City and had replaced Johnny Thunders during the ill-fated Florida tour in 1975.
After the Dolls, Kane was involved in several bands that included: playing bass in the band formed by Sid Vicious, The Idols (with Jerry Nolan), and The Corpse Grinders (with Rick Rivets); and joining Johnny Thunders on a few tours in the 1980s.
In the early 2000s, Kane met filmmaker Greg Whiteley through his work with the Latter-day Saints, and the two became friends. Whiteley commented that all Kane ever talked about was how he wished that he could somehow get the Dolls back together. The idea of doing a film on Kane’s life followed. Coincidentally, in 2004 Morrissey a high-profile fan of the Dolls—offered Kane an opportunity to perform a reunion show with the surviving Dolls (David Johansen and Sylvain Sylvain) at the Royal Festival Hall in London as part of his Meltdown Festival.
When Kane called Whiteley to ask for a ride to the pawn shop to retrieve his bass guitar, Whiteley asked if he could bring along a camera. From there Whiteley filmed Kane’s experiences preparing for the reunion, rehearsing with the Dolls in New York, and reconciling with Johansen, culminating in two sold-out shows in London; which for Kane was all a fulfillment of a nearly thirty-year dream. Whiteley’s footage resulted in the 2005 Sundance featured documentary, New York Doll.
On July 13, 2004, just 22 days after the reunion concert, Kane thought that he had caught the flu in London and checked himself into a Los Angeles hospital, complaining of fatigue. He was quickly diagnosed with leukemia and died within two hours. He was 55 years old. Johansen described Kane as “nonjudgmental, bawdy and holy.”
In 2009 Kane’s autobiography was published entitled, I, Doll: Life and Death with the New York Dolls, with the foreword and epilogue written by Barbara Kane.
Kane met Barbara when he was with the Dolls, and they were married in 1977. Although they were separated for many years, their divorce never became finalized. She was interviewed for the New York Doll documentary, portions of which are interspersed within the film’s narrative.
In 2005 the documentary, New York Dolls: All Dolled Up, was released on DVD. The directors, rock photographer Bob Gruen, and his then-wife, Nadya Beck, owned an early video camera and shot many hours of footage of the Dolls in the early 1970s. Edited down to 95 minutes, the black and white film shows the Dolls in different locales, such as backstage or at an airport, and documents several of the Doll’s live performances in New York City and California. Kane appears in some of the footage wearing a plaster cast on his left arm. This was the result of his volatile girlfriend Connie attempting to cut off his thumb so that he would be unable to play bass anymore. In his autobiography, fellow bass player and Dolls fan Dee Dee Ramone mentioned Kane when discussing Connie, whom he himself later dated. Dee Dee and Connie’s similarly violent and tumultuous relationship would inspire the 1977 Ramones song “Glad to See You Go”. Kane passed away on this day in 2004. If you’ve never seen the Documentary then go see it its funny, enlightening, sad yet uplifting. Arthur Killer Kane RPM salutes you. One of the good guys Gone but not Forgotten.
You wait a while for one then a few come together isn’t that whats always said? It seemed like that waiting for a new Waterboys record and no it’s not ‘The whole of the moon’ or ‘fisherman’s blues’ revisited. This is Mike Scott kicking over quite a few genres in one go from rockin’ out (the title Track and opener) to a bit of post-punk (London Mick) to some smooth pop (Right Side Of Heartbreak) to …ah wait n see.
Rewind to the opener and some raw reckless rock n roll and not for a while have I been this excited to hear what Scott has come up with and this is excellent. As is ‘London Mick’ as Scott regales us with tales of The Clash and Mick Jones. Vibrant and a fine piece of writing and as always Scott has a great tale to tell.
‘In My Time On Earth’ is Dylan if Dylan could still sing. An achingly beautiful song that builds but not to such grande epic proportions but to a gentle raised voice rather than a shout. This album ebbs and flows and the epic ‘Ladbroke Grove Symphony’ is classic Waterboys with a great arrangement then, you’re hit by the funk of ‘Take Me There I Will Follow You’ and from the scratches and backing vocals and Rap, this is a departure and one hell of a curveball nothing new for the Waterboys as there have been dalliances with different genres on previous albums ‘If I Was Your Boyfriend’ off the last album was slightly funky in a Stones ‘Miss You’ kinda way.. I’m not saying I’m against taking a departure – he’s not the first to mix things up but I don’t think I like the song regardless – there I’ve said it. I can pass on this one.
The curveballs keep coming as we go down synth wormholes that again lose me momentarily. To be fair the second half of this record seems to have fallen off a cliff for me which is a real disappointment as it started out oh so well. No, I’m quite partial to a bit of Beck and Eels and I can get it when a songwriter wants to push back some boundaries and I get the Prince thing but first and foremost the songs have to draw you in an so far that’s not happening. Sure the first half of the record was an easy reel in for me but I’ struggling right through side two up until the melancholy ‘Piper At The Gates of Dawn’ all ten minutes of it. Much like the last studio album, I felt a little out of step and it never did really click with me not even the Scatman tune.
There is a CD version with a bonus disc where Scott really gets to fuck with the listener. ‘Where The Action Is’ get the full Primal Scream treatment and I did raise a smirk on ‘London Mick’ with the introduction – I won’t Spoil it for you. In fact, the whole second Cd is a homage to symbol or Prince maybe the Celtic Prince as Scott will call himself in future as he vanishes in a puff of experimental smoke as this will truly test his fanbase who might be looking for him to grow older gracefully that doesn’t sound like it happening any day soon and I salute Scott for that.
Buy Where The Action Is Here