To coincide with ‘The Diagnosis’ announcement The Wildhearts have unveiled a new video for ‘Renaissance Men’
- God Damn.
- A Song About Drinking.
- The First Time.
- That’s My Girl.
To coincide with ‘The Diagnosis’ announcement The Wildhearts have unveiled a new video for ‘Renaissance Men’
After waiting a decade for The Wildhearts to deliver their first new studio in May, they now deliver a new mini album featuring Diagnosis and 5 brand new tracks on October 4th through Graphite Records.
Originally released in 1993, “Earth vs The Wildhearts” is the critically acclaimed full-length debut album from The Wildhearts, fronted by the inimitable Ginger, and featuring the singles ‘TV Tan’, ‘Suckerpunch’ & ‘Greetings From Shitsville’. Hailed as Kerrang! magazine’s Album Of The Year in 1993, it was originally issued on LP, cassette and CD, with the vinyl edition soon becoming a much sought after collector’s item following its deletion. Now, for the first time in 26 years, the album is being reissued and will be available on heavyweight black vinyl.
Pre Order Here
Before we get into this sonic beast of an album I want to point out how lovingly packaged this reissue is.
Round Records is Ginger’s own label and in fairness to us Wildhearts fans we would be happy with a newly remastered White album but in this day of digital downloads, Ginger and his team have gone out of their way to give us something special and boy do they deliver. This double cd book edition features great inside comments from the band on the making of the white album and also has stunning pictures which make this a must-have.
Right onto the music and kicking us off is the nearly 9 minute opener ‘Rooting For The Bad Guy’ which just blasts out of the speakers with a heavy riff, pounding drums and driving bass with ginger’s great gruff vocals shouting out and leading us into a gorgeous harmonic chorus with great backing vocals from Cj and Scott.
Next up is ‘The Sweetest Song’ which is a tale of a woman who has ruined a relationship and starts off with another ginger shouty vocals then goes into a stunning band sang “Na, na, na” chorus.
‘The New Flesh’ was a single off the album and is yet another earworm with some great call to arms lyrics of troubled times which sadly in the years since this album has been released are still as relevant as ever.
“Slaughtered Authors” starts off with the driving bass of Scott Sorry with the drums of Ritch Battersby joining the party before Ginger and Cj complete the line-up. This gem of a track starts off in a slightly more relaxed mode and then builds up to a great band sung chorus. This track is another over the eight-minute mark but with its great instrumental passages when it finishes leaves you still wanting more.
‘Bi-Polar Baby’ is another in a long line of classic Wildhearts tracks with it’s beautifully arranged pop melody wrapped up in bone-crunching guitars.
Ending this album is the other single off the album the pounding ‘Destroy all monsters’ which is a tale of a man spurned by a woman and brings the original White album to a fantastic end.
Now after this emotional rollercoaster of an album has come to an end if like this reviewer you want more (and you will) slip in disc 2.
Right out of the speakers is the awesome track titled ‘Borderline’ which was available as a download off the band’s website many moons ago and is a song worthy of being included on any Wildhearts album with it’s catchy melody which immediately gets in the listeners head and stays.
Other highlights on this bonus disc are ‘Oh Bonita’ and ‘Unbroken’ which were extras on the Japanese version of the white album and the ‘New Flesh’ single which will just show the quality of this bands music that even songs that didn’t originally make the album are songs which are pure class in their own right.
With cd versions and vinyl versions available, this caters to every Wildhearts fans needs and is a must buy.
Author: Gareth ‘Hotshot’ Hooper
Buy The White Album on Vinyl Here
What a time to be a Wildhearts fan. The new album ‘Renaissance Men’ recently out then we are treated to a remastered White Album and ‘Live In The Studio’ and to top it all off ‘Chutzpah! Complete with extras’.
It’s hard to believe that Chutzpah! Was released 10 years ago, wow where has the time gone?
Well, what you get here is this newly remastered version including the Chutzpah Jnr! A release which originally was just sold at Wildhearts concerts so the tracklisting on this new version is 18 songs with both albums combined.
The album kicks off with the short blast of punk rock energy that is ¡Chutzpah! Jnr which draws the listener straight in.
Right on its heels is the frantic “The Jackson Whites” with its sledgehammer of a riff that makes you want to jump up and down and as per usual we have that awesome ear candy of a chorus that only Ginger can wright.
Up next is this reviewers personal fav track off the album titled ‘You Are Proof That Not All Women Are Insane’ with it’s “whoa whoa” chanted backing vocal chorus and the great lyric “ok, so her music and movies are bland these days it’s enough to get a 9 out of 10” which is something we can all relate too.
Another highlight is the Scott Sorry sung ‘The Only One’ which slightly slows the pace down but still has the crunching guitars.
‘You Took The Sunshine From New York’ is a song with a gorgeous melody and great storytelling lyrics.
‘Some Days Just Fucking Suck’ which was originally on Chutzpah Jnr! Is a great song with a deep lyrical meaning which brings to the listener’s attention the everyday hardship of people who suffer from mental illness but also has the positive meaning in the chorus that is “don’t try suicide everything will be alright”
‘People Who Died’ is a song originally done by the Jim Carroll band and here The Wildhearts take the song and bring fresh energy to it with their version and yet again we are treated to the raspy lead vocals of Mr, Scott Sorry.
The album finishes with the title track ‘Chutzpah’ which is another slab of relentless riffing with its shouty fast-paced bridge and then slows down for a great chorus and is a perfect end to this great album.
If having Chutzpah! And Chutzpah Jnr! On the same disc isn’t enough, this version also comes with the added disc of demos which is always interesting to hear and also another disc of unseen footage captured from the Scott Sorry years which adds up to tremendous value for money.
Buy Chutzpah Here
Author: Gareth Hotshot Hooper
When this tour was officially announced I think just about everybody connected with RPM, booked their tickets for a venue somewhere in the UK, not just for a re-invigorated Wildhearts, but to check out the late addition of Towers of London to open the proceedings.
As the time approached I got really excited by the thought of a night with such a variety of music on one bill!
It’s been a while since I caught up with the Wildhearts live, I’ve dipped in and out of them since the early days, (I remember catching them supporting a fledgling Manic Street Preachers in Cardiff University) as well as numerous festival and venue appearances, even catching Ginger on his Ghost in the Tanglewood foray into Americana. But the real kicker for me was the addition of Towers of London to this 3 band bill. I’d never managed to catch them back at the height of their notoriety, when they were being touted as Britain’s answer to G’N’R, it seemed like every week they’d hit the press with their latest outrageous incident or behavior, building to a frenzy that resulted in the group exploding, the music they created actually getting lost in the carnage.
Opening with “I’m a Rat” I think you could have picked my jaw off the floor, and I think the smile just got bigger as the gig went on. I couldn’t believe how tight and in your face the music sounded, how focused the musicianship and how much the band seemed to be enjoying things. Do you know what that enjoyment spread to an ever-increasing crowd and by the time we hit set closer “Fuck it up” the audience was well involved. To me, it seemed that the band had relaxed, stopped playing up to a tabloid image and were there for the music, for the crowd and to give things a real shot. It will be interesting to see in the future the support slots they pick up and if rumours are confirmed there’s a real biggie coming up which will connect them to an audience better suited to their brand of Punk/R’n’R. But ultimately if the new LP due hits the heights of this live performance they’ll be headlining SWX in their own right.
In the lull between Towers of London and Massive Wagons, I had cause to smile at a conversation between two Massive Wagons fans, noticeable by the T-Shirts about how easy it had been to get tickets for the Pink gig in Cardiff! Made me think about how diverse their audience is and how easily they could cross into the mainstream, which they seem to make a hell of a fist of doing. Now at this point I feel I have to be upfront and honest, I don’t particularly like their take on classic Rock, don’t get me wrong they are great at what they do but for me music has to have a sprinkle of stardust, something that sets it aside, an edge if you like, there is no edge to Massive Wagons.
Nothing I saw in the stage show changed my mind in any way, but I was very much in the minority, they went down a storm.
Waiting for the main Act to hit the stage thoughts drifted to what type of Wildhearts performance we were going to get, I needn’t have worried, with the p.a. turned up to 11 they hit the stage to a storming version of “Dislocated” from the new LP Renaissance men, and the drive and energy of the band hit you straight away, what an aural onslaught! Every time I catch the Wildhearts live my thoughts is always how clever the band is, how catchy the songs and how huge they should be, maybe this LP will put them right on the top of the pile.
Rolling into “Suckerpunch”, leading on to “Sick of Drugs” you could feel the paint peeling from the wall’s, this was one of those performances that made a statement. Without going into every song, I don’t think there was a weak track played or performed tonight, standouts in the main set for me? “Urge”, “Caffeine bomb” and “Love you til I don’t”.
But the band weren’t done we had a monster encore with “The Renaissance men” followed by “Someone that won’t let go”, “You took the Sunshine from New York,” “Mazel Tov Cocktail”, “My Baby is a Headfuck” and the evergreen” I Wanna go where the people go”.
The Earth definitely needs the Wildhearts/ Rock and Roll needs the Wildhearts, especially a Wildhearts, flat out, throttle down, focused and delivering an LP as consistently powerful as this newbie. Happy days!!!!!
Author: Nev Brooks
Buy ‘Renaissance Men’ HERE
The Wildhearts are riding on the crest of a wave right now. ‘Renaissance Men’, their first album in 10 years is an absolute monster, it’s currently at number 11 in the album charts and at least 3 of these 8 dates to promote it are already sold out.
It’s not just a good time to be a Wildheart either; it’s a good time to be a Wildhearts fan. With a sizeable chunk of the back catalogue getting re-mastered and re-issued on deluxe vinyl and the promise of plenty more dates this year, it is also an expensive time to be a Wildhearts fan, but we wouldn’t want it any other way would we? In 2019, there is more interest and more excitement about this band than I can ever remember.
Re-united and re-invigorated, the classic line-up of The Wildhearts is back, but are they back for good? Only time will tell. While this current wave of excitement could open doors and see great opportunities for a band who, let’s face it, have certainly paid their dues, I keep getting this niggling feeling that it could all go drastically tits up at any moment. So let’s enjoy it while it lasts.
Talking of things going tits up… fuckin’ Towers Of London are back! Where the hell did that come from? The original line-up that recorded the most excellent debut album ‘Blood, Sweat & Towers’ and then proceeded to burn out in a blaze of arrests and fisticuffs, are back together. There’s new music on the way too, they have unfinished business to attend to. What a time to be a rock ‘n’ roll fan!
Donny Tourette and the boys take to the stage with air raid sirens blaring and fire straight into ‘I’m A Rat’. It sounds fuckin’ ace! Dressed in matching black boiler suits and shorn of the gravity-defying hair of ten years ago, they may look a bit different, but with a newly reinstated The Rev delivering cool licks and a bare-chested Snell bashing seven shades of shit out of his kit, the band are on fire and looking like they really mean it.
While Donny’s nonchalant punk attitude is more Gallagher than Iggy, the delivery is still fantastic. ‘Beaujolais’ is punked-up to the max goodness, and newbie ‘Get Yourself Out Of Here’ with its chanting chorus and sleazy delivery is full of the right kind of attitude, it promises much for the new album.
A blistering version of ‘Fuck It Up’ surely silences any non-believers in the room and ends a high energy set from a band that is truly back to their best form.
While Towers Of London are not the fucked up kids of yesteryear, they have matured, learned a few things, but still have that edginess I desire from sleazy punk rock. Love ‘em or hate ‘em, no one can deny they were spot on tonight.
Whether they’ve got the new songs to rival the likes of the fantastic ‘Air Guitar’ or ‘On A Noose’ we will see, but I for one can’t wait to find out. Bring on new music, headline gigs and world domination then.
Now, if someone could please explain the appeal of Massive Wagons I would be most grateful, as I don’t get them at all. I’ve tried, but they are just not for me. A band fronted by a diminutive Game Of Thrones extra who sounds like Biff Byford, backed by a band who look like they scan your shopping in Aldi, call me fussy but…
Joking aside, in a live setting I can’t really fault them. They have energy, I’ll give them that much. Baz is an animated frontman and a loveable character, who can work a crowd and The Wildhearts crowd seems to love them. But that’s not enough. It would probably be ok if they had the songs, but for me, Massive Wagons just don’t have the songs, pure and simple.
I’ve seen them live several times now and my opinion hasn’t changed. I’m afraid to say I head for the bar not long into their set. Most Massive Wagons reviews I’ve read are positive, with many citing them ‘retro’. Me, I cite them ‘dated’. And in my defence I present their closing song ‘Fee, Fi, Fo, Fum’ as evidence, the cheesiest song I’ve heard in many years, and on that note I rest my case.
In all my years of seeing Wildhearts live shows, I can honestly say I have never seen a bad one, come to think of it I have never seen even an average live performance from Ginger and co, whatever the line-up has been.
Tonight is no exception, in fact tonight is probably the best I have seen them. It’s up there with the hot and sweaty Bristol Bierkeller show of ’94, its as heavy and loud as Edinburgh and Glasgow were in 2004, and it’s even as euphoric as the Chutzpah! show in Leeds 10 years ago.
From the moment Ginger cranks out that opening riff to ‘Dislocated’, the place goes nuts. Such a great response to a new song. A relentless cacophony of riffs and melodies that has the pit bouncing as one, signaling that this brand new song is already classed as a fan favourite.
It leads perfectly into ‘Everlone’, ‘Vanilla Radio’ and ‘Suckerpunch’ all delivered in quick succession, leaving no time to talk or even breathe. Going with the theme of ‘Renaissance Men’ it is a well chosen, heavy set of songs tonight. Mixing it up nicely, there are a few surprises in amongst the usual live favourites. ‘The Revolution Will Be Televised’ and ‘Jackson Whites’ are especially awesome and even ‘Urge’, which I imagined would be a disjointed mess, actually sounds amazing.
Bearing in mind that most people have only had ‘Renaissance Men’ in their ears for a week, the new songs get a great response. ‘Let ‘em Go’ was always going to go down well, it’s got a stadium-sized chorus that is up there with their finest hits. But it is ’Diagnosis’ that probably gets the best response of the whole night. What a fucking tune live! The way they build that AC/DC style riff to gain momentum, before releasing that main hook on an unsuspecting crowd, who in turn go absolutely bat-shit crazy for it. It’s a great feeling being right in the middle of the chaos for the duration. Like being a teenager discovering live music for the first time, all over again.
The band seems truly invigorated and on fire. Ginger and CJ’s vocals are spot on and the pair are full of energy, bashing out riffs and jumping in unison, giving photographers every opportunity to capture that elusive jump shot.
With bassist Danny McCormack now fit enough to make it through a whole set without needing his stool is a big, big thing. The loveable Geordie with a big heart and an even bigger bass sound just brings something special to The Wildhearts and it’s a joy to see him back where he belongs.
Post encore, the band mime through a version of ‘The Renaissance Men’ which is being videoed for a commercial single release on each night of the tour. Bit weird for all concerned, but the show doesn’t suffer or lose momentum.
A five-song encore is pretty good value at any show and with the likes of ‘Mazel Tov Cocktail’, ‘My Baby Is A Headfuck’ and ‘I Wanna Go Where The People Go’ rounding the evening off nicely, who could ask for more?
Where The Wildhearts go from here is anyone’s guess, but my advice is to go out of your way, sell your children or steal money if you have to, but whatever you do, do not miss The Wildhearts live right now, as they are on top of their game.
Buy Renaissance Men HERE
Author: Ben Hughes
Photographs: Neil Vary
As part of one of my son’s activities at school, I was recently in a theater filled with elementary school age children and parents watching the new kids’ movie ‘Ugly Dolls.’ It obviously would not be a movie I would be watching if my wife and I didn’t have children, but the time as a family is priceless. I am sometimes amazed by how much I know about Peppa the Pig, the Mickey Mouse Clubhouse, and the like. I have seen Thomas the Train and the Cat in the Hat get eclipsed over time with these other shows and movie characters.
I have lamented the lack of importance and value of music in today’s world. There seem to be fewer and fewer well-known bands and artists creating a legacy and leaving an imprint than in previous generations. Over the years, music has been a powerful tool for people from a personal level to a societal level. It has provided comfort to us when needed to help us in our times of need as well as been a soundtrack for great moments. It has courted the ire of the powers that be due to its ability to unite people behind a common goal It has been condemned as a tool of a devil and the inspiration for teenage debauchery. I love going back through time and discovering old music. Time machines do not exist, but there is something magical about losing myself in old songs and imagining life at that time, whether it is Louis Armstrong and the Hot Five, Chuck Berry, Janis Joplin, or another artist. I love knowing what was happening at the time, what inspired the songs, and information about the artists. Those artists have also transcended time and continue to be widely known.
I do not see music resonating with as many people the same way today though. Music has become an inessential afterthought to the mainstream in many ways. With the internet, we have lost some of the iconic moments such as what it meant to be on the cover of Rolling Stone, being the musical artist on Saturday Night Live, having a video world premier on MTV, etc. These were significant things in our culture in the past. Musical genre did not matter as there were stars in seemingly every genre who would cross lines in terms of popularity. For example, I did not listen to country but knew who the artists were. In the 80’s, I was mainly a metal head, but my seeds of listening to everything were also planted at that time. I was listening to oldies as well as bands like Jesus and Mary Chain, INXS, and NWA. I didn’t realize at the time just how costly this form of salvation would cost me in the years to come. I even got an electric guitar around the age of 14 and had to come to grips with a hard truth- I have not one ounce of musical talent anywhere in my body. It did not stop me though from creating my own rock band in my head, writing songs (lyrics), and imagining giving interviews. After all, I had read that was what Joe Elliot of Def Leppard had done when he was younger.
I wasn’t thinking about any of this when the movie started the other night. I was wondering how loud all the kids would be during the movie, how bad the storm was outside, which way to go if one of my kids needed to go to the bathroom, and a hundred other thoughts. We sat through what seemed like 20 previews before ‘Ugly Dolls’ finally started. Almost immediately, we had the main character starting to sing a song and then other characters were contributing lines to the song. While I will say the poppy genre didn’t do it for me, I appreciated that it began with a song. Pretty soon, we had another song and then another.
Each song propelled the narrative in a way to engage the kids’ attention. My mind began to go down other avenues now where I thought about so many of the other animated movies and the songs that are attached to them. I have never been unfortunate enough to sit through ‘Frozen,’ but I know the hook from ‘Let It Go’ like it has been cut into my brain with a rusty nail. I can still hear the ‘Thomas the Train’ theme in my head. Just think of all the music in ‘Shrek,’ it is one of the reasons I really liked the movie. When ‘Trolls’ was recently released, both of my kids loved the music and wanted the soundtrack so they could sing along. If they hear any of the songs from the movie, they are dancing, singing, and letting me know it is from ‘Trolls.’ With all this flooding my mind, I started wondering where we are losing our passion for music and our willingness to support the artists. Kids obviously still love music. On a side note, one of my favorite scenes from ‘The Hangover’ is when Stu sings his short song while the tiger passes out from the roofies.
Twice per week, my son has a music class where he is exposed to different musical instruments and songs. They learn to sing songs, and some of them perform for us during the school year. I remember doing the same thing when I was in elementary school and thinking ‘Silver Bells’ was the best Christmas song in the world. I can’t tell you why; there was just something about it at that time. Band was important, even at that age to many students as they were already playing instruments, even if it wasn’t always what they wanted to be doing. Now, we have education budgets under fire with the arts being one of the first to always be on the cutting board. Perhaps, that was the same in the ’80s, and it just wasn’t part of my world at the time as I was too busy in sports to think about trying to play music. I can’t help but think though that it is part of where music as a cultural phenomena is struggling. It is being minimized, and that message is making it down to the kids.
Another possible factor is truly ironic to me. We have too much music which truly spreads popularity across so many artists that there are fewer and fewer icons. For those of us that love music, we are constantly discovering new bands and artists from all over the world. Within a day, I may discover several bands that I love such as the Dead Furies from Estonia or the Fadeaways from Japan. I might not have ever heard of these bands though back before the Internet. I am incredibly happy to have found them because I love the music. It can start to spread us thin though because there are only so many hours in a day. This month I find myself extremely excited that there are four new releases released I have been anticipating- the Darts, the Wildhearts, the Sweet Things, and the Glam Skanks. I imagine there will be someone else that suddenly appears which will also connect with me. How do I find the time to listen to all of them? Seriously, I am open to ideas on this one as the Darts and Wildhearts are already on constant rotation.
As the final song in ‘Ugly Dolls’ set up the final scene where the doll’s dream of being with a child is realized, I was pulled out of my thoughts and back to the hustle and bustle of getting out of the theater. I ultimately have hope that kids today will help us rediscover music and get it back to where it belongs in society. There is something to be said about people being able to remember more through the power of music such as recent studies of patients diagnosed with Alzheimer’s have revealed.
I don’t think the platform to truly demonstrate the power of music has found itself again yet. Print magazines have sadly continued to disappear with the decline of book stores making that even more prevalent. We have wonderful music sites like this one, but we need to be in front of more people. We can be an excellent conduit for new music to the people who try and say there is no great music being made. It is being made, and it can be found all around the globe. It just takes a little more digging because it is not in heavy rotation on MTV or all over magazines at the check stands. People also do not have the record stores to lose themselves in and discover a hidden gem. The music is out there though. Let’s each make sure that we remember to tell others what music means to us, what music moves us, and why we need it in our lives.
Author: Gerald Stansbury
It’s been 10 long years since The Wildhearts released their last album ‘Chutzpah!’ If there was any justice in the world it would’ve been a massive hit album for them, and Ginger would have the recognition he deserves as one of the UK’s most prolific and constantly creative songwriters.
But lady luck has never shone down on The Wildhearts, she just threw shit in their general direction. Drugs & alcohol, in-band fights and shitty record labels got in the way. Even though they scraped the top 20 and featured on TOTP multiple times, sadly it was never meant to be. It would seem that sometimes, even the greatest bands are destined to never make it.
But the Wildhearts have a legacy, a fucking great musical legacy that will never be erased whatever the future holds. While they disbanded after ‘Chutzpah!’ (for the umpteenth time), there have been sporadic reunion gigs and anniversary tours. And with original bassist Danny McCormack back where he rightfully belongs, the classic line-up of The Wildhearts entered the studio to record the album many fans thought they would never get to hear.
It seems you can’t keep a good band down, and The Wildhearts are back in your face, fighting fit and stronger than ever before.
The metallic riff to ‘Dislocated’ blasts open the album like ‘Live Wire’ opened ‘Too Fast For Love’. Did I just reference Motley Crue in a Wildhearts album review? Yes, I did! But that’s where the resemblance ends, as ‘Dislocated’ goes off on a musical tangent to itself, as The Wildhearts are well known to do. Tackling mental health and alienation, the lyrics are spat with the vitriolic, reckless abandon of a man literally teetering on the edge of sanity.
Fuck me, that chorus! It builds and builds and keeps on giving. Then there’s the welcome return of Danny’s unmistakable bass rumble, as much a part of The Wildhearts sound as anthemic choruses and crunchy guitars. ‘Dislocated’ is a song for the outcasts in an age where Ginger’s lyrics are more relevant than ever.
Next, we are straight into ‘Let ‘em Go’. Classic, anthemic Wildhearts at their finest. A football terraced style anthem with an uplifting chorus you will be singing on first listen, and long after the needle has lifted. “Let ‘em go, let the shit-filled rivers flow” the whole band chant, as you wonder how you have survived for so long without this melody in your head. A future live favourite for sure. No one does it better…no one.
The following title track is a weird one, not sure about this yet. The almost tribal beats and backing chants bring to mind the film ‘Madagascar’ for some reason. With a cool riff and a great euphoric chorus, it’s a song about the band being back in your face, and hopefully, they are here to stay.
‘Fine Art Of Deception’ is a song I first heard Ginger and CJ play acoustic at The Fulford Arms in York last year. This is a tune that could have been lifted from the ‘555%’ sessions, I feel. The “bullshit” refrain stands out as pure Wildhearts fodder though and harks back to their early days.
‘Diagnosis’ builds on an AC/DC style riff before morphing into classic Wildhearts crunchy goodness. Air guitar and goosebumps (see Pilo Erection below) come hand in hand as Ginger and CJ’s vocal harmonies intertwine to create the magic we love and crave from The Wildhearts. It builds to a euphoric, killer chorus set to be a mainstay at hot and sweaty future gigs.
‘My Kinda Movie’ will kick off side two (if you are listening on cassette or vinyl). It comes on like a classic Wildhearts B side, and we all know how good those are, right? A metallic, staccato riff makes way for intense, urgent drums from probably the most underrated drummer in rock music, Ritch Battersby. Chugging, dampened guitars match the rhythm of the verse that makes way for a gang vocal chorus, a wild as fuck wah-wah solo and a section that goes up the musical scale again and again. Holy shit, that’s a workout!
‘Little Flower’ is again, a song I heard previewed acoustic last year and one of the most instant songs on the album. CJ penned I believe, it certainly has his knack of pop sensibilities stamped all over it. A hook as catchy as anything out there, it will bury deep into the subconscious on first listen and threaten never to leave, job done.
That signature Wildhearts dampened, crunchy regimental riffage introduces ‘Emergency (Fentanyl Babylon)’. The subject matter is pretty self-explanatory, here Ginger even name-checks Tom Petty and Prince before laying waste with a brutal chorus that will incite the listener to shout the “emergency” refrain and bang their heads until the beats abruptly cease. Glorious in all the right places.
‘My Side Of The Bed’ is disjointed riff-o-rama in god knows what time signature, with sublime vocal harmonies that suck you in on first listen. There is so much going on in this crazy song it’s hard to describe, but imagine Cheap Trick jamming with Primus for starters. So much love for this tune already.
The “one-two-fuck you” count in signals the closing track ‘Pilo Erection’. Crunch, bang, wallop! We are up and running for the final time as the band get a full-on workout, riff after riff and chanting gang vocals aplenty, a powerhouse performance especially from Ritch as his skills are tested to the max.
If you are wondering what Pilo Erection means, Google the fucker like I did! Let’s just say The Wildhearts give me a Pilo Erection everytime and you can quote me on that.
The arrival of a new Wildhearts album has always been an event. Call me biased, but it makes me realise that most other bands pale in comparison and it has been so long that I nearly forgot that!
I was expecting this album to be a cross between ‘Earth Vs’ and ‘Chutzpah!’, yet surprisingly it sounds like neither, in fact, it sounds like no other Wildhearts album that has come before it.
Like ‘Fishing For Luckies’ and the self-titled ‘White Album ‘, ‘Renaissance Men’ takes multiple listens to sink in and every time I listen, something new jumps out. My favourite track is changing on a daily basis and even though it’s early days, I can’t imagine I will hear anything better this year.
Hopefully, this is as much a resurgence as a renaissance and we can expect more from this band in the near future. But for now, bask in the glory that is the new Wildhearts album and come back in 6 months when it’s all sunk in and tell me how great it is.
Author: Ben Hughes
Buy Renaissance Men Here
The Wildhearts release Dislocated, the first song from their forthcoming album ‘Renaissance Men’. Listen to the cathartic Dislocated
On 3rd May ‘Renaissance Men’, The Wildhearts’ first full-length studio album in 10 years is released by Graphite Records.
The Wildhearts’ classic line up of Ginger, CJ, Ritchie and Danny, recorded the energetic and diverse ‘Renaissance Men’ at the Treehouse Studio. Produced by Jim Pinder ‘Renaissance Men’ finds The Wildhearts at their full creative tilt delivering hard-hitting, retooled classic rock with a modern twist. Bristling riffs and jagged, riotous hooks are their poison and the 10 songs are the perfect manifestation of the band’s immutable wit, charm and righteous anger.
The album cover for ‘Renaissance Men’ was painted by Eliran Kantor (Testament, Iced Earth, Sodom).
To coincide with the release of ‘Renaissance Men’ The Wildhearts play an 8 date UK tour. This intimate tour will start in Manchester at the Academy 2 on Friday 3rd May and concludes at the Riverside in Newcastle on Sunday 12th May.
Creatively brilliant, The Wildhearts play a distinctive fusion of hard rock, perfectly complemented by contemporary melodies. With a career spanning 30 years The Wildhearts helped change the landscape of British rock through the ’90s, and to this day they haven’t shown any sign of slowing down. Miss these shows at your peril.