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First Boy On The Moon – ‘Demons’ (Self Release)

First Boy On The Moon – ‘Demons’ (Self Release)

It’s the autumn of 2019, First Boy On The Moon set out on a journey to create catchy songs and perform live shows and slowly but surely carve out a future. Fronted by singer-songwriter David Pedroza, the quartet is inspired by 80s alternative music with cerebral lyrics, kick-in-the-guts guitars, bass, drums and keyboards. Think the punch of The Stranglers meets The Cure and you’re on your way. The tunes are catchy and often bright. Take the album’s opener ‘Single Mother’, it has that JJ Burnel thump and tone whilst the guitars and keys are not too dissimilar to early Cure, with one eye on creating a pop hit and the other some alternative new wave earworm.

It’s taken 15 months to get to ‘Demons’ from the last album, sure it’s retro, but in a great way, the songs are well crafted and with one eye on being cool and the other on striving to create a sing-along pop tune. ‘That Ship Has Sailed’ has a great tempo and weaves on a synth and guitar lick borrowed from the alt scene who hung out with the punks in CBGB’s back in the day. It’s uncluttered and unfussy, and the songs breathe with traditional instruments, think Icicle Works and Echo and the Bunnymen if you like. The songs could be epic and tell a story. ‘Reach For The Sky’ is a slice of energetic power pop with the emphasis on pop. I’m hearing different things on each play, and parts are pushing to the fore, which is always a good thing. I love the Bass sound and the walks it takes the listener on on tracks like ‘Too Cold In Your House’ and its prominent place in the mix on ‘That-a-Boy’.

The album finishes strongly with ‘Port OF Fire’, in another life would work really well live and on Top Of The Pops or The Tube (remember those shows, kids?) A really cool album with ten well-constructed songs that arch over several genres and decades of Rock n Roll, what I’m trying to say is if it ain’t broke don’t fix it, just keep writing those tunes, and we’ll keep listening to them, and the flame burns bright on this one. Go check out some independent rock n roll music free of all the bullshit and just loving the music.

Buy Here

Author: Dom Daley

DESCENDENTS’ – ‘All’ & ‘Liveage’ return in August

DESCENDENTS’ – ‘All’ & ‘Liveage’ return in August

DESCENDENTS’ ALL AND LIVEAGE! RETURN AUGUST 14 ON VINYL, CD, AND CASSETTE

Latest Instalments in Org Music’s Acclaimed Descendents Reissue Series Feature Expanded Editions, Exclusive Variants, and a New Punk Note Release

Pre-Order Here

Org Music continues its acclaimed and comprehensive Descendents reissue campaign with new editions of the band’s landmark 1987 studio album ALL and essential live album Liveage!, available August 14 on vinyl, CD, and cassette.

As the latest releases in the ongoing archival series, ALL and Liveage! document a pivotal chapter in the history of one of punk rock’s most influential and enduring bands. Originally released in 1987, the albums captured Descendents at a moment of transition, creativity, and reinvention, introducing a lineup and philosophy that would shape the band’s future for decades to come.

Featuring classics including “Coolidge,” “Clean Sheets,” “Cameage,” and “Pep Talk,” ALL marked the final studio album of Descendents’ original run and introduced the philosophical concept of “ALL” that would become central to the band’s identity. The album also marked the first appearance of the lineup of Milo Aukerman, Stephen Egerton, Karl Alvarez, and Bill Stevenson, the quartet that would remain the foundation of Descendents for the next four decades.

Expanding the band’s melodic sensibilities and technical musicianship while retaining the urgency, humor, and relatability that defined their earlier work, ALL remains one of the most important and influential albums in the Descendents catalog. This newly expanded edition includes the bonus tracks “Jealous of the World” and “Uranus,” available on vinyl for the first time.

Recorded during the tour supporting ALL, Liveage! captures Descendents at full speed before their initial hiatus, delivering fan favorites including “Myage,” “Bikeage,” “Suburban Home,” and “Hope” with the energy and intensity that made the band’s live performances legendary. Described by Maximum Rocknroll as “an extremely tight ‘best of’ set,” the album serves as both a companion piece to ALL and a snapshot of a band operating at the peak of its powers.

Like previous studio album reissues in the series, ALL will also receive a special “Punk Note” edition, featuring alternate artwork by John Yates inspired by the iconic Blue Note Records album covers and newly commissioned liner notes by BrooklynVegan editor Andrew Sacher. The “Punk Note “edition will be widely available on black vinyl, while a limited blue vinyl variant will be available exclusively through Org Music.

Both albums will be available on standard black vinyl, color vinyl, CD, and cassette, with additional exclusive variants available through Org Music, Descendents, Zia Records, BrooklynVegan, and Tapehead City.

Since launching in 2025, Org Music’s Descendents reissue campaign has brought a series of essential releases back into print across carefully curated vinyl, CD, and cassette editions, giving longtime fans an opportunity to revisit these landmark recordings while introducing a new generation of listeners to one of punk rock’s most influential bands.

ALL and Liveage! will be available everywhere on August 14. Pre-orders are available now.

ORDER EXCLUSIVE VARIANTS: Here

 ALL

Widely Available
• Standard Black Vinyl
• Cool Blue Vinyl
• Punk Note Edition (Black Vinyl)
• CD
• Cool Blue Cassette

Limited & Exclusive Editions
• Punk Note Edition Blue Vinyl (Org Music Exclusive)

• Blue bALL Vinyl (Descendents Exclusive)

• Pink Vinyl (Zia Records Exclusive)

• Blue & Silver Hand-Pour Vinyl (BrooklynVegan Exclusive) 

• Frosted Ice Cassette (Tapehead City Exclusive)

• Black Vinyl w/ Obi (Celebrated Summer Records)

DESCENDENTS – LIVEAGE!

Widely Available
• Standard Black Vinyl
• Transparent Orange Vinyl
• CD
• Orange Cassette

Limited & Exclusive Editions
• Orange & Blue Shatter Vinyl (Org Music Exclusive)

• Coke Bottle Clearage Vinyl (Descendents Exclusive)

• Blood Orange Vinyl (Zia Records Exclusive)

• Orange & Blue Hand-Pour Vinyl (BrooklynVegan Exclusive)

• Sea Green Cassette (Tapehead City Exclusive)

• Black Vinyl w/ Obi (Celebrated Summer Records)

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Hot Load – ‘Realized’ (Drunken Sailor Records)

Hot Load – ‘Realized’ (Drunken Sailor Records)

Ever had a bad day and just needed to let off some steam? Well, here’s your soundtrack. Take a blast of ‘Exotic Weapon’ and thank me later.

If you’ve ever seen the Michael Douglas film Falling Down well, this is the soundtrack to your own Falling Down. From the over-the-top bass fuzz of Motorhead to the rampant, nasty punk rock of GBH or The Dead Boys, Hot Load has it all swirling round the drain and out of the speakers and into your ears.

They released an album in 2025, ‘Fate Unknown’ – it saw the LA five-piece embrace sounds outside of hardcore and expand their influences to reach a wider audience without losing any of the rage, anger and downright nastiness they have harnessed. Imagine the metal of say a Midnight or Motorhead hanging out with the noisy punk kids, then making a record.

The subtle punk attitude is raging through ‘Wodowmaker’ as the vocals sound like there’s been one too many Lucky Strikes, no filter smoked in some darkened late-night speakeasy while gargling bleach n jack Daniels.

They sound like a band at the end of their tether and straining at the leash, but have found guitars and volume to exercise their demons. ‘Blood Damage’ is a full-throttle rip ride with a great big dirty Gluecifer kinda riff that will cleanse the soul and fill your black heart up with the right stuff.

‘Hot Night’ is a fuzzed-up slash and burn born in some Zeke meets Motorhead wet dream fantasy that only has Discharge or GBH to be your lullaby tunes to settle down. There’s no slowing down either, this is a steam train of noise that’s hurtling outta your speakers until it hits something so hard it shudders to a halt. ‘Salvo’ is terrifying and sparks flying until the blood drains from your body and the band spontaneously combusts. The record closes on a real high as the title track signals all-out war. Check the schedule to see when these bad boys are rolling into a town near you because seeing is believing, and these songs are made to be played even faster in some sweaty shit hole of a club with fellow believers who kneel at the altar of Rock n Roll and have also given up their souls to the Gods of everything that’s louder than everything else. Get this in your ear and turn it up, you can thank me later.

Buy Here

Author: Dom Daley

Voivod/Midnight/Cryptosis – Thekla Bristol, 10/06/26

Voivod/Midnight/Cryptosis – Thekla Bristol, 10/06/26

All aboard for a night of frash as Canada’s finest thrashers are in town and they’ve brought the Mighty Midnight with them. Opening the show on the boat were Dutch power thrashers Cryptosis, who knocked out a solid thrashing set, but not being familiar with their repertoire, it took a bit of getting used to, but I did manage to chuckle at their mic stand. Imagine this – Blackie Lawless or Mayhem mic stands if you bought them from Temu, and you’re in the game right there.  With a video screen programmed for something different each song, it was a distraction from the music, if I’m being honest, or was it a welcome distraction, you decide.  Playing a tight, fast, and powerful set, it went down well with many in attendance, but it was a bit of a thankless task opening for Midnight and Voivod, to be fair.

Up next was the main reason I donned my spiked gauntlet and black hooded mask and spent all afternoon negotiating the south Wales train lines to head into enemy territory and the rather fine venue known as Thekla which for those who haven’t been is a boat docked on the banks of the river and hollowed out for a concert venue and to be fair I’ve seen many a great shows in there from The Dwarves to this expectations were high. Athenar took to the stage celebrating the anniversary of ‘Satanic Royalty’, so what we got was more or less the entire album with a fine sprinkling of tunes from around the band’s career. It was noticeable that this time there was a change in personnel from the last two times the band played Bristol but whilst I thoroughly enjoyed what I saw and heard it seemed a little off being on the boat and not somewhere like the previous visits the Exchange where I witnessed the loudest PA ever in almost 50 years of gigs and it almost caused my heart pacer to burst out of my chest it was that loud or maybe it was being on the balcony rattling my jewellery between songs and not in the thick of the pit being thrown around as the band raged through ‘Satanic Royalty’, ‘You Can’t Stop Steel’, Lust Filth and Sleeze’ and other such beauties from their Black n Roll playbook.

When the band hit their stride, there is nothing finer in loud, aggressive Rock music, and whilst they didn’t quite reach the heights of previous performances, it was still a shit ton better than pretty much all other bands doing their music hard, heavy and full of filth and fury. By the time they reached ‘Fucking Speed And Darkness’, ‘F.O.A.L.’ and ending with a triumphant ‘Black Rock n Roll’, they were hitting their stride. Athenar thanked the audience for the energy and thought it was their first time in Bristol – don’t tell me that behind the mask, it was an alternative Athenar who didn’t remember the two previous epic performances they delivered or had Satan finally stolen his soul in exchange for a set of awesome punked up Black n Roll. Let’s do it again, please, it’s still a breath of fresh air blowing through the harder side of metal.

Onto the headliners, the mighty Voivod, who’ve got a brand new Symphonic album (of course it is) to sell and a reminder to the people of the UK or rather England and beyond that, they are still at the top of their game delivering a technical thrash that is brain melting in the time changes and tightness of it all and how they do it oh so well.

Now here’s my little moan, having made the train journey at great expense and made sure I could make the last train home and several hundred miles to the most local show to me I was disappointed on arrival to find out that the early finish wasn’t quite so early and I would have to leave before the end of the set missing my favourtie songs (no not the Pink Floyd cover) but ‘War And Pain’ and of course the set closer ‘Voivod’. Oh well, next time I’ll have to factor in a stay over or hope they play South Wales again.

Anyway, moan aside, I did get to see roughly 40 minutes of their scheduled 60-minute set, and on the evidence before me, they were on fire. To say they were tight would be an understatement, and tonight’s healthy audience at this midweek show would absolutely testify that the band were killing it. From the opening ‘Experiment’ through ‘The Wakes’, Obsolete Beings’, the tempo and skill were awesome and all those changes. The band looked in great form and were beaming as the audience Rrrroooooooared their appreciation after every song. ‘Korgull The Exterminator’ sounded massive and fresh as fuck as the band mixed up the metal with Punk like no other. As we grudgingly made our way from the good ship Thekla to the strains in the distance of ‘War And Pain’, it was a bittersweet feeling. Well worth it as usual, but disappointing that the times didn’t work this time. £30 for Midnight and Voivod, what an absolute bargain if you can go get some, these bands are on fire and at the top of their games.

Author: Dom Daley

Oil City Confidential get expanded release

Oil City Confidential get expanded release

Cadiz Music is delighted to announce the reissue of the long-unavailable ‘Oil City Confidential’. Director Julien Temple’s remarkable film features the story of Essex’s Dr. Feelgood as told by original guitarist Wilko Johnson. This DVD releases will be made available on 18 September 2026. The expanded booklet includes a selection of rare and unseen pictures from the band’s heyday, plus an essay by Mark Radcliffe.

A critical and commercial success, upon its orginal release, ‘Oil City Confidential’ was winner of the Mojo Vision Award 2010, Best Documentary at the Kermode Awards 2011 and Best International Film 2009 (Cult Award, Turin Film Festival) and picked up the “DVD / Film Of The Year” gong at the Classic Rock Awards.The film even scooped a prize at the Turin Film Festival.

Julian Temple’s ‘Oil City Confidential’ is the last film in his trilogy on British music of the 1970s.  It is a prequel to his landmark films about punk figureheads the Sex Pistols in “The Filth & The Fury” and Joe Strummer in “The Future Is Unwritten”.  Rather than being standard ‘rockumentaries’, Julien uses the music as a prism through which he examines the social and cultural conditions of the times.  The films share his characteristic cinematic language – and irreverent and anarchic style of montage of archive and fictive footage which he pioneered in “The Great Rock & Roll Swindle”.

The Sex Pistols’ and Joe Strummer’s roles are well known, but Dr. Feelgood, who are the subject of ‘Oil City Confidential’, played a vital role in creating the conditions for that cultural explosion. This is the story of four men in cheap suits who crashed out of Canvey Island in the early ’70s, sandpapered the face of rock’n’roll, leaving all that came before a burnt out ruin…

Members of The Clash, Blondie and The Sex Pistols join Dr Feelgood with collaborators Jools Holland and Alison Moyet to provide a compelling narrative. Quite simply, ‘Oil City Confidential’ is the story of Canvey Island, 1970s England and the greatest local band in the world. 

Available to pre order Here

Lithium Kicks – ‘The Black Cat Club’, Bridgend 05/06/26

Lithium Kicks – ‘The Black Cat Club’, Bridgend 05/06/26

As far as debut gigs go, it always helps to have some music out there in the ether and maybe make it a hometown show with another band on the up this time in the shape of Bambees from Merthyr. With a near capacity turnout, it’s Friday night in the canteena from Star Wars, where cans of Red Stripe or Stella are the cocktails of choice. With the band not hitting the stage until 10PM, it was a wise move to get everyone loosened up for the pop show.

It was a joy to see Darren and Ginge on stage again after a lengthy hiatus. As the band took to the stage and struck up their intro as the ringmaster marched on to signal that it was time for the audience to join in with the backing vocals of ‘I Want Something I Don’t Care About’, and we were up and running.  The band sounded tight, and the songs sounded upbeat and full of energy. Sitting somewhere between early Manics, 60 ft Dolls married with a healthy dose of Sorry & The Sinatras punk n Roll for good measure and top melodies turned up a notch or two and pretty much everything sitting on the shelves of Ginge’s record collection (apart from his copy of Jimmy Nails ‘Crocodile Shoes’) it was hook after hook, swapping songs about darkness and self loathing for songs of love and nice things, funnily enough a track entitled ‘L-U-V’ was an excellent tune and a real highlight alongside ‘I Was A Teenage Arsonist’ something Ginge openely admitted was a true story, these alongside the already released pair of songs these were right in the pocket of catchy, sleazy rock n roll that’s been missing from the scene and some real immediate earworms. Going home singing the woah ohs! can drive you nuts but what a way to go. The audience was loving it, and the joy was infectious, but having the band sound in such a great place was a bonus I’m glad I was part of. Bring on the EP and the next show Lithium Kicks have arrived boys n girls substance and alcohol free and all the better for it, straight edge punk n roll its the bloody future I’m telling you.

Being their debut show I’m sure they’ll find places to tighten up and sharpen, but from a punter’s point of view they were right on the money, and it was infectious with people singing along with unfamiliar choruses like they were well worn songs they’ve been listening to for years, which is always the sign of a top tune wrapping itself around you and making everything alright.

Being the beginning of the journey the set was short and oh so sweet with the music being the real highlight on display sure it was great to see Ginge back on stage making music but it has to be quality and to be fair with the new material he’s knocked it out of the park thus far and the other new songs that were played there’s no sign of it stopping quite yet this train is bound for glory baby and I’m sitting in first class. Hop on board as they stop in a town near you, because this should gather pace, and it’s always cool to say you were there at the beginning. Bring on the Lithium Kicks, we all need some rock n roll highs.

Lithium Kicks

Author: Dom Daley

Subhumans/ Only Fools And Corpses/ Bad Sam – The Bunkhouse, Swansea 04/06/26

Subhumans/ Only Fools And Corpses/ Bad Sam – The Bunkhouse, Swansea 04/06/26

Lovely to see a local venue packed to the gills on a school night in anticipation of three very fine bands all flying the flag for independent music. First up, Positive Reaction were a no-show, the reason unknown. So it is the trimmed-down but always ferocious and captivating Bad Sam. Now down to a two piece of Guitar and voice and a laptop, meaning there are only two people to disagree with, rather than a band of 4 with all that equipment. 

Don’t be fooled into thinking that Bad Sam have lost any of their edge or ferocity because that simply wouldn’t be true. With a brand new album to peddle, this was ‘Trauma’ time for Beddis as he climbed down off the stage and right into the thick of the packed audience. ‘Popcorn and Blood’ set the tone for the brief set. Rich was in charge of the laptop (prob for the best) and his guitar up on the rather high Bunkhouse stage whilst Dean prowled the audience barking out the lyrics.  Of all the new songs, ‘Tupperware Death Party’ brought all those in attendance of a certain age to a nostalgic tear or two, but the noticeable thing was the fact that there were only two of them they lost none of the punch or power the music needs to tear Swansea a new one.

Alas their time is too short so there isn’t any reworking of a ‘Snake With Tits’, ‘Mr Trump’ perhaps a ‘Dicks With Dogs’ or ‘I Love The Port’ but that’s ok like I said this was Trauma time and hearing new Bad Sam music is always a pleasure and hopefully with the reception they got this won’t be the last time they head down west maybe for a headline set where they can work in some of the old magic with this new found direction. Awesome stuff.

Next up was local(ish) lads Only Fools And Corpses that are part Newport part Swansea lads with their Helmet meets NomeansNo meets a brick to the temple punk /alt-hardcore noise they peddle, and to be fair, they do it oh so well.  This isn’t my first encounter with these gentlemen because we met at a chaotic performance in the tight surroundings of Afan Ales many moons ago but this was a much nicer experience with a decent and very loud PA and packed house the two guitarists traded vocals as they thumped their way through their set sadly for the last time as they’ve decided that tonight was the night to call it a day for Only Fools And Corpses but Cameron did announce that he’d been writing new material so hopefully it wont be long before they are back all be it under a new name and different guise again something different to Bad Sam but equally excellent which only meant it was time for the headliners to make their Swansea debut. Considering they’ve been at this since 1980 and played every village and venue under the sun around this spinning rock its quite remarkable that this was their first visit to this fair city, something that wasn’t lost on Dick.

Now, considering this was a midweek show, it was great to see the place packed to the rafters, and for such an occasion, it was great to see the reliably good Subhumans deliver a set of top-notch anarcho punk. Anyone who’s seen the band perform will know that anything less that 100% isn’t an option and if you were to see them play more than once in a run of shows you wont get the same set twice however you will obviously get ‘Micky Mouse IS Dead’, ‘Rats’ and ‘No’ but its always great to hear newer songs like ‘99%’ it wouldn’t’ seem right if you didn’t have a mixed set because Dick Lucas was born to do this and gives nothing short every performance as he flits across the stage not pausing or stopping for breath for a second of the hour plus they are on stage. The band sounds tight as and looks like they’re enjoying the rapturous applause they’re getting from the very appreciative venue.

Twenty-plus songs in an hour from gentlemen of a certain age giving it large, showing people a fraction of their age how it’s done with passion and purpose. That, my friends, was a wonderful evening in the company of three exceptional bands absolutely smashing it. Less than £15 a ticket, all for charity, I believe, which is unbelievable value for money in these tough times.  Please, whoever books shows in this city, let’s have all three back sometime in the not-too-distant future and seeing an audience that was a very healthy mix of teenagers to us older me, it was heart-warming to see and be part of.  Uppa Punx!

Author: Dom Daley

Thirsty Quireboys – ‘God Bless America The Best Of Thirsty Quireboys’ (Cadiz Music)

Thirsty Quireboys – ‘God Bless America The Best Of Thirsty Quireboys’ (Cadiz Music)

One of the biggest shames of 80s rock n roll was The Quireboys losing Guy Bailey after their second album. The guy (no pun intended) oozed Rock n Roll it was coursing through his veins and a massive part of the bands sound was shaped by the guys touch and tone on all those early records and after signing with ms Osbourne they took forever to make a follow up to ‘A Bit Of What You Fancy’ and Guy was done and with him left a big part of that rock n roll soul. After stints making noise with the Peckham Cowboys, it wasn’t until Thirsty that Guy reappeared on my radar for sure, and when he made the first record, I was lucky enough to interview the fella, and what a joy it was to chat about the scene of the early Quireboys and what influenced them and him through our mutual love of all things Keith Richards but it wasn’t until SPike and Guy were on stage in the borderline with Tyla that I next had a brief chat with Guy about Thirsty and what next.

Fast forward to 2026, and the way too early passing of Guy and then this record appears out of the ether with Spike’s voice filling the air over these slices of 3D cinematic rock n roll that Guy had previously released. Having Guy Spike and original Quireboy Chris also hopping on board is a real bittersweet moment. Turning the speakers up and the lights low, it’s drop the needle in the groove and immerse oneself into this record, and it begins with the awesome ‘1-10 7 and possibly 6’ I dunno what it means, but I do know it captures the attention and kicks your backside in classic Guy Bailey way. The overdriven tele rings out and the drums kick in before Spike joins the party and we’re away. What a wonderful song, all Keith Richards meets Chuck Prophet and dripping with coolness.

I can remember having to give Thirsty time to seep into your head, and once you familiarised yourself with the vibe, you were locked in, and what a rewarding listen it was. The main thing I take away is how fucking good Guys playing is. It’s not technical nor is it note perfect, but it’s full to bursting with emotion, and the heart and soul flowing through his fingers is a joy to hear.

‘Flawless’, then the title track, are majestic with wonderful performances from Spike. Fans of the Quireboys and Rock n Roll will love this album and enjoy every second of it from the cool storytelling of ‘Donnie To Sonny’ to the honking fuzz of ‘Orlando’, it’s a thunderous-sounding record that’s got that sparse production that lets everything breathe and lets the songs and the stories to be told in true rock n roll fashion. Closing the record off with the beautiful and dark ‘Black’ is haunting and soulful, and a perfect way to close off a wonderful record from some wonderfully talented people. Rest In Peace, Guy. Your legacy is in safe hands.

Buy Here

Author: Dom Daley

THIRSTY QUIREBOYS – Competition

THIRSTY QUIREBOYS – Competition

THIRSTY QUIREBOYS “GOD BLESS AMERICA

 BEST OF THIRSTY” ALBUM NOW TO BE RELEASED 19TH JUNE 2026

FEATURING THE QUIREBOYS – SPIKE, GUY BAILEY, CHRIS JOHNSTONE

VINYL & CD PRE‑ORDERS NOW LIVE: Here

We’re running a competition for two lucky people to win a copy of the vinyl or CD and a T-shirt. All you have to do is email rpmonlinetcb@yahoo.com with the answer to this question –

What was the title of the debut album from the Quireboys?

Closing date is 7 O’Clock- Monday 15th June 2026

Thirsty Quireboys have confirmed a revised release date for the album ‘God Bless America – Best of Thirsty,’ now landing 19 June 2026.

The album – a powerful tribute to the late Guy Bailey featuring Spike, Bailey and Chris Johnstone – is available to pre‑order now on Blue Vinyl, Black Vinyl and Digipack CD.

This collection brings new life to Thirsty’s most evocative storytelling pieces, remixed under the ear of Chris Kimsey and showcasing Spike’s newly recorded vocal performances. Fans can secure their copies ahead of release, with early previews of “Mercury Rising”, “Flawless” and “Albatross” already generating strong excitement with fans.

Available formats: Blue Vinyl, Black Vinyl & Digipack CD

Thirsty Quireboys return with “God Bless America – Best of Thirsty”, a powerful new release honouring the life, work and unmistakable creative spirit of the late Guy Bailey – founder of The Quireboys, songwriter, guitarist, and the architect of Thirsty’s distinctive sound. The album will be released on the revised date of 19 June 2026, with vinyl and CD pre‑orders now available.

At the centre of the record is the haunting title track “God Bless America”, which recounts the devastating true story of Rosemary Kennedy – debutante, sister of JFK, and victim of a forced lobotomy ordered by her father, Joe Kennedy. Set to Irina D’s vivid, tightly focused lyrics and Bailey’s looping, discordant E‑minor motif, the track moves from romance to horror with stark elegance. Spike delivers one of the most emotionally charged vocal performances of his career as the narrative unfolds.

Bailey and Spike co‑founded The Quireboys, writing the songs that carried the band from Monday‑night pub gigs to global tours with The Rolling Stones, Guns N’ Roses and Aerosmith, earning gold and platinum records along the way.

Thirsty began in 2014 when Bailey teamed up with Russian poet and lyricist Irina D, fusing his melodic instinct with her love of literature and storytelling. “I loved working with Guy on these songs. He was very well‑read and his home was always full of books – Master and Margarita, Last Exit To Brooklyn and Moby Dick. The first song we ever did was Donnie to Sonny. I showed him a poem I had written and, whenever the story resonated, Guy went away and set my words to music. It was beautiful.” — Irina D

Between 2015 and 2018, Thirsty released three critically acclaimed albums – Thirsty, Albatross and Nomad – featuring contributions from Simon Hanson (Squeeze, Death in Vegas), Chris Johnstone (The Quireboys), Lynne Jackaman (Saint Jude) and Kristi Kimsey. “I’ve known Guy for longer than I have been in Squeeze! He was a great friend — a fabulously talented musician and songwriter even though he always did his best to downplay this fact. The Thirsty thing really was unusual… Irina D would bring poems to Guy based on books and stories she had read – and Guy went away and set them to music. It was a bit like Elton John and Bernie Taupin in that respect.” – Simon Hanson

The new album began as a simple tribute conceived by Irina D, with Spike originally set to sing just one track, “10, 7 and Possibly 6.” But his first take stunned everyone in the studio, reigniting the old chemistry between his voice and Bailey’s guitar. “…to get the chance to make a record again with Guy was really special.” – Spike

What started as one song became a full, emotionally charged album — a rare posthumous reunion between two lifelong musical partners. Remixed and shaped under the ear of legendary Rolling Stones producer Chris Kimsey, the record brings new clarity, weight and emotional depth to the music Bailey created with Irina D. “Spike’s voice has always complemented Guy’s guitar playing perfectly. And the addition of one of the world’s best vocalists really complements and illuminates these songs. It was a really happy accident and I was delighted to be a part of it.” – Chris Kimsey

The album revisits some of Thirsty’s most ambitious storytelling pieces – from the mob‑world loyalty of “Donnie to Sonny”, to the jewel‑thief escapism of “Flawless”, the Coleridge‑inspired “Albatross”, the allegorical wanderer of “Chaos”, and the Virginia Woolf‑inspired “Orlando.” “…This was an important record for all of us — and he (Spike) made sure that his voice was sounding as good as it has ever done. The results speak for themselves.” – Chris Johnstone

God Bless America – Best of Thirsty stands as both a celebration and an evolution: a final collaboration between two great friends and a powerful new chapter in the Thirsty story. At its heart is the enduring creative spark of Guy Bailey – his melodies, his instinctive guitar work, and the stories he helped bring to life.

The Virginmarys/iDestroy – Hyde Park Book Club, Leeds – 31st May 2026

The Virginmarys/iDestroy – Hyde Park Book Club, Leeds – 31st May 2026

Macclesfield’s finest export, The Virginmarys, follow up their 2024 album ‘The House Beyond The Fires’ with a companion album ‘Beyond The House Of Fires’, a piano-led re-working where the songs have been stripped back and reimagined. Chords and structures have been changed, words have been rewritten, and it’s very much a different album sonically. To promote it, singer/songwriter Ally Dickaty and drummer Danny Dolan now take the show on the road for some intimate MTV unplugged-style shows. 

First up are Bristol band iDestroy. Bec on guitar and Nic on bass haven’t done acoustic shows before, but they embrace the format. Bec gets a bit of a rapport going, some crowd participation, and they have some great tunes. “All My Friends Are Plastic” and “Headphones” are particularly memorable. There’s a bit of Brit Pop and a smattering of Grunge going on, Elastica meets Hole could be a good starting point. They go down well and warm things up nicely.

The stage is set, iridescent candles shimmer, and pink LEDs draped across the amps glow as The Virginmarys take to the stage of an already hot n’ sweaty room. With guitarist and songwriter Ally taking on keyboards for this tour, The Virginmarys are joined by guitarist Gareth Price to boost the band to a 3-piece for this tour.

The thing I like most about this new album is that some songs that maybe didn’t stand out on the original album now come into their own. One such song opens the show tonight. Stripped of the jagged riffs and regimental beats, ‘My Nettle’ takes on a new lease of life, emotive and cinematic, it just hits in the feels. We watch in silence as Ally fingers a lush piano melody. Danny does not take his eyes off his musical partner’s fingers either, as he matches the raw and emotional vocal with a rousing beat. You could hear a pin drop for the entirety, and that’s not the only time that happens tonight.

‘Dance to the City’ follows, with its rousing chorus screaming the album title. It’s over in a flash. The songs flow by quickly, too quickly, they seem shorter somehow. ‘There Ain’t No Future’ still sounds as powerful without the killer power chords,  and ‘When The Lights Go Down’ is simply stunning, Gareth’s effect-ridden guitars adding a touch of Pink Floyd to proceedings. 

‘Urban Seagull’ is another that benefits from the reworking. Ally plays a lush arpeggio while Danny plays a regimental but subtle beat. A song that was made to be played in this setting. 

The set is mainly these new songs, none of the usual hits is to be heard in this format, but they fill it out with a few obscurities, just Ally solo. A cover of Leonard Cohen’s  ‘Everybody Knows’ fits the bill, ‘Sleep’ and ‘Cast The First Stone’ are heartfelt and beautiful and will make you want to revisit those early EPs. 

They capture that magical unplugged, laid-back vibe well, the intimate dark room helps magnify the cinematic, ethereal feel of these new reworked songs.

The only time the pace picks up is on the penultimate song, ‘Veteran Soldier’, an older song that was originally recorded acoustically and has been given the opposite treatment. The atmospheric intro leads into an almost Tarantino-esque spaghetti western vibe. A song of gratitude and undying friendship, it’s an album highlight and a gig highlight as well. But the best has been kept for last. ‘White Knuckle Riding’ for me is the kingpin of the whole album. Ally’s unfaltering vocals are sublime over the tinkling of the ivories, it builds with Danny’s gentle, regimented beats, just enough to accentuate things. Unsurprisingly, the emotive lyrics with the Northern references hit home in this intimate Leeds venue, and it’s a stunning end to a masterful set. No encores, no returns…job done.

The idea with this project was to recapture that 90’s MTV Unplugged vibe, and with both album and tour, The Virginmarys have succeeded. While this is more of a between-album project and not a new direction for the band, it was one of the most magical gigs I have seen them do. 

Author: Ben Hughes