I first came across DFM way back, having been bounced a you need to have a listen to these guys from Pity my Brain main man Jamie Richards, and was instantly blown away by the depth atmospherics and intensity of the music, that initial LP Time was followed on in 2020 by the superb Inviolate, stretching the intensity out, building on the first LP showing a band choosing a direction, both powerful, observational and more to the point drawing the listener in to a dark dystopian world created by none other that Caroline Cawley and Brother Bill Fisher from the Church of the Cosmic Skull, but music that shines as the complete antithesis of that body of work.
But on to the current release (War of the Ether), preceded by the self-titular single War of the Ether, again this is seriously powerful stuff. As the press release illustrates, “Lyrically, the album dives deep into a recent scandal surrounding 796 skeletons found on the grounds of the former Catholic-run Tuam Mother & Baby Home in Caroline’s native country of Ireland. To hide the shame of pregnancy out of wedlock, women were sent to homes like this all over the country. Forcibly separated from their mothers, many of the children died in infancy due to neglect, and some were trafficked for adoption to the US”.
First track up She came from up the Dromban Hill draws you in before the poetic spoken vocals lead you through the story unfolding. At times I get drawn back to some of the almost autobiographical work of Joolz, real time observational, an outsider recanting the story, looking in and backwards, the first thoughts I’m starting to build as we move into second track up Critical mass is how sharp the whole sound is, focussed, driven and intense. This feeling of intensity is an off set to the almost at time ethereal vocals, but the vocals form only part of the whole, all the parts twist and engage wrap around each other, cocooning you in an aural soundscape.
Next tracks up The Veneer and Walls of Filth and Toil, again lead you step by step engaging, driving and moving you inwards spiralling into the soundscape of the story unfolding. Then the Title track War of the Ether, hits in hard, the intensity ratcheted up another notch, the guitar work enhancing and pushing the vocals ever higher. License of their Lies maintains the intensity. By the time you reach No Matter, your held by the story unfolding, gripped by the soundscape and hit by an almost Primal Scream of emotion. Finishing the LP off A decent class of girl a fitting tribute and uplift to the sounds and story that we’ve been told.
This an LP that again draws you in, the subject matter, coupled with the intensity of the music and some staggering good ethereal vocals really demands your attention, well worth checking out released in October, with a tour following, this is the type of music that really needs to be witnessed live.
First up we have the first video off the brand new Baz Francis EP ‘Wake To The Morning’ check it out and pick it up at the links. Facebook / Pick it up Here
second time around we’d like to share the brand new video from Girls In Synthesis and ‘Watch With Mother’ the post punk outfit are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ it’s available this coming October via the band’s own label Own It/Cargo Records, it’s mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content – create as challenging a record as you will hear this year! Pre order here
Ricky Rat has been kicking around dishing up punk rock n roll and power pop for a long time. He’s served his time with his band the Trash Brats spitting out punk rock mashed up with Glam Rock in the late eighties to early naughties then he served as the gunslinger and backup comrade to Rock and Roll lifer Kevin K crisscrossing Europe and the US of A for a few decades before he got to play with Cheetah Chrome for a couple of years with his version of the Dead Boys. What happened next happened to us all – Covid!
Oh, A decade ago he released the excellent ‘Songs In C Major Love’ that sort of wrapped up everything he’d done to that point and given it his own seal of approval by singing the songs as well as writing them and playing them. Quite how it’s taken him a decade to follow up that beauty only Ricky could answer. But Hell, here we are mid-2022, and ‘Ghost Of Isolation’ is with us released on i94 Recordings it’s ten power poppin’ punk rockin’ tunes full to burstin’ with passion and a love for his chosen craft.
During lockdowns, Ricky was writing and videoing a song a day for about 150 days straight! which has been cut down to an acceptable album length and the content of ‘Ghost Of Isolation’ well, nine new songs and a Jimmy Cliff cover (we’ll get to that later). We kick off with the rollicking title track that’s got an air of optimism and a spring in its step. From the punchy rhythm to the chorus it’s like a gentle sigh of relief that better things are coming and this is the soundtrack.
The album is packed with melodies and upbeat tempos and even when the song might be about loneliness or loss of love it still has an optimistic delivery. ‘Lakepoint Nights’ reminds me of the Role Models and that songwriter punch of power pop that makes you want to sing along on top of your voice without a care in the world. Because nothing matters more than being in that moment. A great skill to have as real life flys by its just you – the song and the moment. Perfect!
The dreamy qualities of ‘Bottom Of My Heart’ and its blue-collar Detroit countrified rock n roll is a song David Johansen would have killed to write when he reformed the Dolls and that solo is killer. It’s gritty and wistful and a sidestep from the edgy overdriven punk rock, also the duet style really pays out in earworms that take root and demand to be heard over and over. I have to say that as much as I loved Ricky’s debut solo album this one is a real step up in quality, musicianship, and arrangments, its got a great flow to it from top to bottom from the up-tempo rockers like ‘I Can’t See Shit’, ‘Laughing Stock’ to the more gentle numbers like the excellent ‘Glow Of Gabriels’ which is a particular high point. Even the Jimmy Cliff cover sounds like it was written for the Stones in the mid-70s with a great swirling keyboard adding texture and depth.
‘When We Were The Boys’ is a great autobiographic Rock n Roller (like much of this album) it’s universal and personal and plays like the chapters from Ricky’s life story spilled over the grooves of a record. Then a piano comes in to signal the swan song ‘Singing With The Angels’ that isn’t a ballad or picked acoustic outro but a barnstormer that makes you puff out your chest and punch the air because you’ve been lucky enough to hear what is a stonking album.
Never a chore and always a pleasure, listening to what Ricky Rat has put on tape is an adventure through Rock n Power Pop and Trashy Glitter of the highest quality and long may it continue. Check it out for yourself and when you do pick up a copy tell him RPM Sent y’all!
Amongst the many hundreds of concerts I’ve attended over the years, I still Slade as one of the best live bands I have been fortunate enough to see. I saw the classic line up of Noddy Holder, Jim Lea, Don Powell and Dave Hill twice, in Cardiff and Bristol, on the ‘til Deaf Us Do Part’ tour when I was around 14 years of age, and having initially fell in love with the band through their ‘Sladest’ album around 1974-75, I think this is proof positive that when you fall in love with a band early on in life they stick with you forever, especially when they are as awesome as Slade.
I’ve also collected the band’s back catalogue with an almost religious fervour over the years, and with Salvo having provided the almost definitive reissues of their recorded output as recently as 2006, including the ‘Slade Alive! (The Live Anthology)’ two CD set (which features three of the albums/concerts included here plus the ‘Slade Alive Vol. 2’ set which isn’t included here) you’ll forgive me if I admit that the purpose behind this all new ‘All The World Is A Stage’ 5CD box set is somewhat frustrating. With only the CDs ‘Live At The New Victoria’ recorded on April 24 1975 and ‘Live At The Hucknall Miner’s Welfare Club’ recorded on June 26 1980 proving to be of any real interest, and at around £40 for the set, I have to say that’s a lot of money to spend when things are getting pretty tight at the moment.
Granted the ‘Alive! At Reading’ CD (which I’m sure some will also be buying this set for given its almost legendary status) restores the classics’ Tak’ Me Bak ‘Ome’, ‘Mama Weer All Crazee Now’ and ‘Cum On Feel The Noize’ (all missing from the Salvo reissue along with the ‘You’ll Never Walk Alone’ singalong) but it’s still not the full fifteen song set, and to include ‘Slade Alive!’ and ‘Slade On Stage’ but miss out ‘Slade Alive Vol. 2’ simply feels like an opportunity missed to finally give Slade fans as near a definitive live document of the band as they always excelled in that setting. Or why not simply ditch the already released albums and just go with previously unreleased live sets, I’m sure there must be enough fans who would have snapped that 5CD set up?
To that effect, I find myself only briefly dipping into the review streams of ‘Slade Alive!’ and ‘Slade On Stage’ (they sound just as I expect them to), before moving quickly to ‘Alive! At Reading’ and that triumphant Sunday back in 1980 when Slade stepped in at short notice to replace Ozzy Osbourne’s Blizzard Of Oz and Gary Moore’s G Force on the Reading Festival bill and then proceeded to not only steal the show but also kickstart their ‘80s reawakening. There are a few sonic dropouts throughout this set, but it’s great to once again hear it in most of its glory, as my tape recording from the Friday Rock Show had long since disappeared from my collection, most probably leant out to a friend and never returned.
Moving on to ‘Live At The New Victoria’ from April 1975 and not only does it capture the band live at the time I first started listening to them, but it also has a set list that centres largely around the band’s then new album and film ‘Slade In Flame’. The volume on the stream of this recording seemed to drop ever so slightly compared to the Reading set but it’s a rip-roaring run through a dozen of some of the finest songs the band ever penned. Okay ‘The Bangin Man’ might be stretching that definition a bit but this set is worth investing in just for the versions of ‘How Does It Feel’ (which is also my all-time favourite Slade song), ‘Far Far Away’ and the B-side ‘OK Yesterday Was Yesterday’ where Noddy slips into an impromptu Tommy Cooper impression for the song’s introduction. Amazing stuff indeed!
The ‘Live At The Hucknall Miner’s Welfare Club’ 1980 CD that closes this set out is (as far as I can tell) pretty much the full live set that Slade did a few nips and tucks on for their Reading 1980 set, and here the band sounds absolutely fantastic from opener ‘Dizzy Mama’ through to ‘Born To Be Wild’ which brings things to a suitably high energy end. I’m not sure how large the crowd was at this show but compared to the turbocharged sound Slade generate onstage they sound positively timid. This is the sound of Slade firing on all cylinders, yet seemingly on the verge of also splitting up due to their lack of commercial success at the time. Mind blowing stuff indeed.
Unfortunately, as I’ve only received a stream of this box set to review, I cannot tell what the twelve-page booklet or clamshell packaging is like, but what I can tell you is that the (mainly) previously unreleased live material really is exceptional.
As I said at the top of this piece Slade will always rank as one of the best live bands I’ve seen in my forty plus years of gig going and ‘All The World Is A Stage’ turns that fact up way past eleven…and then some. Magical stuff, even if the set is seemingly somewhat overpriced. I’ll let you decide if you snap one up now or wait for the price drop that will no doubt follow.
It’s been a while in the making but it’s finally here, Steve Vincent has assembled a cast of reprobate Rockers to assist in pulling this together and apart from writing and playing a lot of the instruments himself, he’s accentuated a lot of the tracks by drafting in the likes of Danny McCormack from the Wildhearts and Steve Conte from Michael Monroe band as well as Miqu December from Plastic Tears who also has a writing credit on a track he duets on (‘Fallen Wheel’).
Hailing back to a time when Grunge killed off glam and all strands associated rightly or wrongly struggled with the association people like Steve survived and moved on but never lost the passion and love for Rock n Roll. In a time (the early 90s) when London was alive with real rockers and genuine great bands like Gunfire Dance, Kill City Dragons, Cheap and Nasty to name a few who stood a fighting chance but never quite fitted in with the punk rock crowd nor the glam rock dandies it was a more gritty mid 80’s feel going on, Steve kept going with his band Paradise Alley who were also out of step with what was considered Glam and what would have cut it as punk.
The band limped on in various states playing towns and cities from America and beyond but burrowing away at home writing and recording Steve kept his powder dry and long after Grunge ate itself, Steve appears like a genie from a bottle (of thunderbird wine no doubt) and delivers a solo record that deserves being championed from these here pages as I wonder how or why it’s taken so long to get all this music out there. Steve does a sterling job on the harmonica he blows on up-tempo opener ‘Yesterdays Man’ with its layers of sound from the picked guitar and Danny McCormack throb on the bass. That sleazy Hanoi Rocks inspired swagger of ‘All I Wanna Do’ has Steve wheezing on that harmonica again for a barroom sing-a-long with some decent guitar licks courtesy of Mattias Johansson and some most welcome joanna tinkling courtesy of Matt Connor adding to a feel-good rocker. The late night come down flip side of ‘All I Wanna Do’ is ‘Last Train To Babylon’ with a laid-back tempo and groove with some tasty guitar playing courtesy of former New York Doll Steve Conte which seems apt as the New Yorker adds some real Noo Yawk flavour to the mix about the city that never sleeps.
Steve swaps his pixie boots for a pair of two-inch creepers and puts his foot to the floor for ‘Can’t Bring Me Down’ as the lyrics take a darker turn so does the groove – it shows a side that isn’t just good times and parties but real issues and a riff to boot on this well-constructed darker song.
Once dubbed as the “happy song”, ‘Falling’ is a standard rocker wearing a big smile and it shows – you certainly feel it. ‘Fortune wheel’ is co-written with Miqu from Plastic Tears and works well. Left to ferment from the 90’s it reached its vintage and this toe-tapper leads the charge into the home straight.
The penultimate song ‘Sleepwalking’ is a self-confessed homage to Stiv Bator who I’m sure would have approved of the songs meaning and story he’d also have enjoyed the meandering guitar work that underpins the riff that oozes glam punk not some powder puff Sunset Strip Glam Rock but a gritty authentic Punk Rock slice of Glam grafted from mid 80s wardour street to the here and now, excellent stuff.
To close off the album is the gentle and considered acoustic ballad that is ‘Lost Boys And Fallen Angels’ dedicated and inspired by a former bandmate who lost his life a decade ago and to people everywhere who’ve lost someone with a PMA and kind soul that’s never coming back – it’s a fine and fitting end to a really impressive album showing that Steve Vincent has many strings to his bow and an ability to write and record some excellent rock and roll. Long live real Glam Punk Rock n Roll and keep on keeping on Steve – this is a record that deserves to be heard and hopefully just the start.
Tony Wright releases new single – Pre-orders Here plus 19 date UK tour
The poignant ‘Cannonball’, is taken from his forthcoming solo album, ‘The Anti Album’, out on October 7th
“Cannonball is a sad and lonely song. Full of emotions that wouldn’t be wished upon anyone. It’s where we end up when we lose confidence and stability… Whether it’s through mean people or hard times the song just talks of the emotions and feelings inside. There was no point trying to cover over these cracks or pretend anything different so it is blunt and to the point. Not what everyone wants to hear perhaps but that’s not going to change the way we play it and or the sentiment behind it.” – Tony Wright.
“The video takes a slightly lighter approach and tells of the jealousy of the miserable clown at the circus who’s envy is all consuming when he sees the Human Cannonball. The clown wants to be the Cannonball and enjoy the praise and adulation that pass him by. The plot thickens and the video tell the story of how the clown goes about rectifying this… Based on the silent movies which allowed us to get away with lots of stuff when it came to the filming it includes peril and danger alongside cunning and underhand tactics. He wants to fly through the sky and break down walls.” Along with Cannonball, The Anti Album features nine further songs, including the previous single Buried You Deeper
This truly honest record is the perfect manifestation of Tony Wright’s immutable wit, sadness, quiet anger and charm. The Anti Album is available to pre-order in usual CD and vinyl, plus an exclusive limited edition red vinyl album
UK dates in full
October Fri 7th Settle Victoria Hall
Sat 8th Scunthorpe Cafe Indie Sun 9th Todmorden Golden Lion
Is it really Sunday already? We’re only just warming up. Having taken a measured approach to this years post covid proceedings we’ve reached the final day and our party of scribes have eased back on the beers and late nights and are raring to go for one last push.
After another of those exceptional breakfasts, it was straight into the Arena to catch the excellent Thee Acid Tongue hoping that the sound we had witnessed for The Chisel was an isolated incident but sadly once again it was volume over any definition and it really hindered front of house sound. Gone was any subtlety in the guitar sound and it was almost a single low-end blast with the vocal becoming an ear-shattering hum which is such a shame because there were five of us hoping to catch the band live for the first time all agreeing that the sound did them dirty. Note to self (please can they play next year with a good mix – thank you) The band clearly had energy in their performance and if they had a good onstage mix it wasn’t the case out front – shame that because they have some really top tunes so I’d love to have to opportunity to watch them next year on the Pavillion stage chopping out those top tunes they have.
Whilst mulling over the sound in the Arena we headed to the Casbah for some of The Insane at the Casbah where they were playing their first gig in 40 years and the track ‘El Salvidor’ stood out next to their cover of the classic ‘Chinese Rocks’ now every year we like to predict how many bands soundcheck their guitars to the opening riff of ‘Sonic Reducer and how often we get to hear it played this year we had to wait until the final day to hear it even once which must show how the festival is evolving and talking of evolving we now head back to the Literary stage for some chatter that matters and another unique feature of Rebellion.
That was half twelve mid-day but we’re not going to moan about it (too much) we have a busy schedule and we’re onto the next. The Literary stage for some Jeff ‘Stinky’ Turner and his no hold barred stand up. In the brand new conference center that housed the art displays and a moving wall of remembrance, it was also kitted out for interviews and stand up which is where we found ourselves along with plenty of others. With not a single spare seat Turner was to talk us through the life and crimes of a Reject and his firm of equally unhinged nutters. Now, the lead throat of The Cockney Rejects Jeff Turner has wandered through life ducking and diving and along the way upset and been loved by equal amounts of people I’d imagine. I found myself giggling and belly laughing as he doesn’t hold back regaling us with horror stories of touring with the Rejects and growing up in the East End and along the way dismantles many celebrities along the way mainly for faking it and not being stand-up people if you’ve not seen Stand up and be counted then I suggest you do so, partly as a cautionary tale and partly because Jeff is a funny guy and I’m sure he would forgive me for saying this but I find myself laughing with and at him, what a life! He’s honest and keeps it real and when talking about his beloved ‘ammers he chokes back the tears which was wonderful to see and hear as the real human side came out but obviously I can’t condone some of his more violent stories but it was what it was and Jeff owned his darker side along with his warm and caring side which also came through. To be honest the literary stage was packed with awesome turns today from Billy Bragg and Alvin Gibbs to Stuart Pearce the footballer , Steve Diggle and Tom Robinson its a shame I couldn’t stay here all day it would have been fascinating and another wonderful side to this festival that makes it so unique.
Where was I? oh yeah, damn you Jeff Turner making me laugh meant I missed my visit to the pavilion to watch TheDeRellas who went down a storm from a few people we spoke to who attended the performance which didn’t help. So many things to see so little time and soooo many clashes.
Anyway, where was I? Our schedule was now in the bin as choosing between who to see and where we were supposed to be was now futile so I missed the almost acoustic performance from Dave Sharp interviews with Alvin Gibbs and Steve Diggle. Buzzcocks outside at R Fest and The Avengers in the Empress. it was time to assess who what where and when so it was Chelsea in the Empress as Gene led the band through a solid set kicking off with a sprightly ‘Evacuate’ and an impressive ‘War Across The Nation’ before finishing the set with the classic ‘Right To Work’. We then maneuver ourselves across the Winter Gardens for former Misfit Doyle who is in the Casbah and was also the first act to take twenty minutes to get onstage which was disappointing. It was a well-choreographed thrash fest from the former misfit and his band who did the whole punk/metal thing as well as expected with frontman Alex Story prowling the stage like a madman helping pass half an hour before we headed back to the Empress for the mighty UK Subs.
It was now the final straight for us this year and we nestled ourselves down the front to witness another fantastic set from Charlie and the boys. They treated the packed Empress to a tight – no fuss – zero bullshit, rapid best-of set that took in UK Subs classics such as ‘I Live In A Car’, ‘Down On The Farm’, and the sing-a-long that has become the subs anthem ‘Warhead’. It’s been a while and the Subs are masters of playing Rebellion and what is required of the established bands and their back catalogue.
There were a few moments during the set that encompassed everything that is held special about the band where crowd surfers caught the eye of Alvin, Carlie, and Steven and it seemed to spur them on and raise the already volcanic temperature even higher creating one of those moments and Charlie fuckin up the lyrics here and there much to the amusement of Steven and Alvin its these glimpses into a world where Charlie has sung ‘Barbies Dead’, ‘Limo Life’ and ‘Emotional Blackmail’ a bazillion times yet caught in the moment it can and does happen. The Subs have become something of an institution and Rebellion stalwarts deserving of their elevation up the bill and on the biggest stage. Tonight they were fantastic, they gave the fans exactly what they wanted and some and provided a real weekend highlight for me -long live the UK Subs.
We decided to zig-zag our way back to the Casbah to catch NYC hardcore legends the Cro-Mags for their set but without John Jospeh I can’t help but feel the intensity and performance was missing something. With him prowling the lip of the stage leaving Flanigan to get on with what he does would have been something to behold. However, the set kicked off with a thunderous ‘We Gotta Know’ and that intensity was raised for ’20/20′ but it was a ten-song set that featured four tracks from the classic ‘Age Of Quarrel’ album. It was great to catch them finally. Get em back in the Arena (with a good sound) alongside Sick Of It All, Bloodclot, Stigma and Agnostic Front and I’ll get in training right now, that would be insane. If only eh Hardcore fans?
Right, this was it one final hurrah! Empress Ballroom for Stiff Little Fingers then the hell outta dodge and the nine-hour bus trip from hell home haha! Again the Empress is packed to the rafters for this performance and again SLF didn’t disappoint. Covid might have delayed and derailed their anniversary celebrations but tonight the band was determined to make up for those lost couple of years and the Empress was about to join them for a huge celebration. Opening with the awesome ‘Suspect Device’ followed by ‘At The Edge’ this was shaping up to be an awesome set already. No bullshit nor fucking about it was down to business and hit after hit rattled off the balcony and around this cavernous and beautiful venue. ‘Nobody’s Hero’ followed by ‘Roots, Radics, Rockers, Reggae’ sounded fresh and as we headed through ‘Strummerville’ towards ‘Gotta Getawy’ it was time for the no-encore encore and a final salvo of ‘Tin soldiers’ followed by ‘Alternative Ulster’ and the band left the stage to rapturous applause and another fantastic Rebellion Festival set. Me I was soaked through and done. My body battery was registering extreme lows and another year was over and an exceptional four days of friends, fun, fantastic music, and everything besides was locked into the goldfish-like memory bank. We discussed highlights of which there were many, regrets of bands we missed and simply couldn’t see, and discussed next year’s wish lists of who should be added to what still is the best punk and alternative festival on the planet. Adios amigos same time same place next Year? Fuckin’ right it is…
If I could be so bold and suggest some bands for next year I’d love to see a return of Clowns from Australia and whilst their at it maybe pack a flight from down under and get Grindhouse, Civic, Stiff Richards, the cosmic Psychos, Coffin on board just for good measure. I’d also get The Lords Of The New Church with Michael Monroe into headline one night there are a plethora of great UK bands we need to see play from The Hip Priest, Deathtraps, Black Bombers, Continental Lovers and Rough Gutts to some from the States like Wyldlife from NYC, Guerilla Teens and about a hundred more I could name but maybe some will be entertained and make Rebellion 2023 better than this year’s event. So without further waffle RPM Online would like to Thank Rebellion Festivals for what must be a terrifying experience yet equally rewarding, James Sherry @ Division PR, Stu Taylor at the Rebellion merch table and all those who put in the hard yards behind the scene and of course all the bands, stall holders and staff at Winter Gardens & R Fest for another truly unique yet excellent festival. Oh, and before I forget, to my traveling companions and roommates for looking after me and making it such a great time, again. Love you long time…respect!
Why not buy tickets for 2023 and come join us by the seaside beside the sea Here
Slyder Smith first hit the stage in the mid-90s as guitarist with power pop beat combo, Last Great Dreamers. After releasing four studio albums and one live album the band decided to go on a hiatus and sail down the solo artist route. Although Slyder went public first with his Kickstarter campaign it was Marc who stole the march by releasing his quite brilliant solo album first. All that seemed to do was raise the bar for Slyder who kept his album under wraps until now. Taking center stage with a new band Slyder Smith & The Oblivion Kids (Tim Emery, Bass, and Rik Pratt, Drums) Slyder is most definitely on the Charm Offensive with an album made up of equal parts gritty good time Rock n Roll, a dash of glamour and a heap of emotion.
Kicking off proceedings with the Mexican standoff that is ‘El Encantador’ something of an ever so brief spaghetti western intro. then a roll of drums and ‘Calico Queen’ is chomping at the bit with a cheeky smile its got swagger in a 2 steps from the move kinda way with a rollicking saloon piano run and an excellent middle eight and big Bvs its a stonking opener. It’s only going one way from here now the party is started ‘I’m Done’ has a cool groove that’s twisting and grinding towards the chorus.
It’s got an air of confidence about it – that much is obvious even at such early doors. Hell, there’s even a cowbell! With fourteen songs in all you need to make yourself comfortable – hell grab a beer or four this is happening. ‘Crash Landing In Teenage Heaven’ has the soul of Bowie with its dreamy tempo and infectious melody and once the earworm burrows in you won’t get rid of it for days. Sure, you’ve heard it before but when it was the title track of the LGD second album it was all trashy crash bang wallop this is a very different beast and is just about right on the money. A fantastic reinvention of a really good song even if this is next level.
Wait a cotton picking moment, Slyder picks up a banjo for ‘I Don’t Want To Run’ which builds and has the feel of The Libertines or Carl Barat which is no bad thing then the chorus breaks out into a life-affirming chorus. ‘Maya’ is more of the same with a big beating heart its got a gentler delivery and with the bass thumping away high in the mix is excellent and to be fair its a real feature throughout the album, the mix and production is fantastic, and really compliments the songs giving them room to breathe like a fine Red wine. Getting Pete Brown (George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths, Sam Brown) to add his talent is well worth it.
Turning up the tempo for ‘Pleasure Victim’ and all its grubby Soho sleaze feels on the money churning up a rocker at just the right time on the record so the listener gets a second wind with some tasty guitar dueling for the lead break works well. ‘Road Love’ enters the fray with plenty of Mott The Hoople swagger in the arrangement and styling.
I’m not sure what to make of the cover of ‘Never Ending Story’ sure Slyder does a great job hitting the vocals right on the money but I never liked the original so I’ll have to give this one a pass but I’m sure there will be plenty who just appreciate it for the tip of the hat to a pop smash hit.
Anyway, Where was I? Oh yes, Rock n Roll haha! ‘Oblivion Kids’ couldn’t come quick enough. Another old Dreamers track reinvented. Maybe more of a straight rocker without the synth throb that the original version from ‘Transmissions From Oblivion’ had. I’m not sure which is the best. The production and sonic boom of this version wins hands down but I quite liked that hovering wobble in the background – hung jury.
Hell, after a brief reprise of the album’s opener we’ve hit the finale and with our poncho on and cigars lit it’s ‘No More Mr. Bad Guy’ as the band rides off into the sunset on this curious closing instrumental.
In summery its a wonderful album full of excellent songs that have well-worked arrangments, sing-a-longs that lift the spirits, and a record you’re happy to play over and over again – There’s no need for a ‘Charm Offensive’ just let the music do the talking let this album whisper sweet sweet nothings into your ear you’ll be in luv L-U-V!
On the day they begin the WA leg of their I’m Sorry Sir, That Riff’s Been Taken tour, The Hard-Ons have released a new single and video from the album.
The “Needles & Pins” 7″ single will be released on coloured vinyl as a strictly limited edition of 300 – 100 in hot pink, 100 in clear teal and 100 in black. It features the exclusive non-album B-side “Spider Tree” (an out-take from the album) and will be available from the band at the shows as well as on the Cheersquad Records & Tapes Bandcamp page and from select retailers..
Of the new single and video, Hard-Ons co-founder and bassplayer Ray Ahn has said “The Hard-Ons are in love with the music and beauty of pop. We wanted Mike Foxall, the director to capture the sentiment and tenderness of the melody – all the while showing some light-hearted humour… ”
Guitarist and fellow co-founder Blackie adds,“People usually scoff (politely Emoji) when I insist we’re a pop band .. SEE!!”
The WA dates follow the band’s recent AIR Awards ‘Best Independent Rock Album Award’ nomination for I’m Sorry Sir, That Riff’s Been Taken, and the group’s much-viewed surprise APRA Awards performance of “Know Your Product” in tribute to The Saints’ Chris Bailey.
The Hard-Ons’ new album I’m Sorry Sir, That Riff’s Been Taken is out now via Cheersquad Records & Tapes. (Distributed by Magnetic South)
Day three of Rebellion 2022, and just like in previous years Saturday’s bill leans perhaps a little heavier towards the Oi!/streetpunk/skinhead side of punk rock, especially in the Empress Ballroom, and that’s exactly where we start today catching the revolutionary sounds of Italian Oi! outfit Los Fastidios. A few songs in though and we’re distracted by the appearance of our old mate Gaff lead guitarist with Desperate Measures NZ and Rich Ragany & The Digressions. He’s not been to sleep since the Measures closed out the Empress in the early hours and I can’t help but think he’s never left the building following what he describes as “perhaps the band’s best show ever!” I’m ashamed to admit I missed this set, due to my lack of sleep the previous night, but as usual Gaff is cool about it all heading for the nearest bar to keep the celebrations going.
Getting things back on track we make our way to the front of the Empress for what appears to be the final gig from Devon’s finest streetpunks Arch Rivals who really are back in Blackpool for one last round. It’s an emotional affair for sure played out to a crowd who really do not want to see the quartet leave the stage. But after a set packed full of terrace anthems, leave they must, and as ‘The Crowd’ brings things to a close its easy to understand why frontman Mike Brands struggles to hold it together, such is the fantastic send off the lads are afforded by the Empress faithful. Let’s hope they can get back together soon, eh? Oi! Oi! Oi!
Next up, it’s time for some Chaotic Dischord over in Club Casbah. Now, this is the band we all aspired to be back in 1983/84 as we were all as equally as shit as they were musically with one band that my old mate Darrel Sutton put together (long before he was playing with Trigger McPoopshute and System Reset) designed specifically to have people walking out after just 2 or 3 songs. I’m pleased to say that with Chaotic Dischord nothing has changed in that respect and after just 3 songs (during which I’ll admit I’m pissing myself laughing) culminating in ‘Who Killed ET? (I Killed The Fucker!)’ it’s all over for me. Yes, it really is a joke you know….
And with that in mind we briefly pop our heads around the folding doors of the Pavilion to catch some of The Gonads set, Garry Bushell openly taunting the locals with a “Blackpool Boys We Are Here” chant that segues almost perfectly into a song our Woking Oi! correspondent was dying to hear, the legendary ‘I Lost My Love (To A UK Sub)’. Perfect half time entertainment for Charlton Athletic fans everywhere.
The reason we have to leave The Gonads set early is that the anticipated crowd for The Bar Stool Preachers second set of the weekend up in the Almost Acoustic stage in the Spanish Ballroom is probably going to test that venue’s capacity to the maximum. So, getting in early doors we manage to get a prime viewing spot for what has to one of the real highlights of the weekend. Playing with a reduced kit drummer and a keyboardist led on the floor to help get around the stage’s rules of what can be included as “Almost Acoustic”, frontman TJ McFaull plays an instant trump card by ensuring the front rows are only made up of young fans and their families. Admittedly his wise words on the realities of trickledown economics (that proceed the song of the same name) are well over the heads of his band’s latest fan club members, but that doesn’t matter one iota as the pure delight on their faces as they get to dance and sing with the band is a total joy to behold. Thankfully the band’s signature tune does get played today, and as the lads say goodbye to everyone one last time before heading off to tour Europe with The Interrupters, I’ll say it once again. “Watch these boys fly….”
Something I wish I could do myself as due to the massive crowd up in the Spanish Ballroom I manage to miss over half of Last Resort back in the Empress Ballroom. Still, I get in in time for a new tune called ‘No Man’s Land’ followed closely by the immense ‘Never Get a Job’ before Roi and the lads rattle out the classics ‘King of the Jungle’ and ‘Violence in Our Minds’ from their legendary 1982 debut album. Look, I know they have Lars Frederiksen within their ranks these days but I still can’t help but miss the monstrous Les Paul chug that Beefy used to bring to the Last Resort sound, and I really never thought I’d be writing this…yet again.
It’s at this point in proceedings where stage clashes were always going to shape the rest of our Rebellion Saturday as up next in the Empress is the tribute to Mensi, something I would love to hang around and sing along to, but when we also have IOW skinhead all-stars Grade 2 playing over in the Pavilion at the exact same time, and their third album ‘Graveyard Island’ pretty much helped me through multiple lockdowns, there’s only one place I’m going to be. Having previously witnessed Grade 2 supporting The Interrupters, the band that bursts onto the stage at Rebellion is unrecognisable from the largely static trio that had failed to impress me in Bristol SWX a few years prior. Their tour with Social Distortion has certainly helped the lads with their stagecraft, but it’s the quality of the songs from that aforementioned album that really is the difference this time around. ‘Tired Of It’, ‘Murder Town’ ‘Bowling Green Lane’ are all delivered with ruthless efficiency and I’ll defy anyone not to be impressed with this mob right now. Grade 2 are another one of the absolute highlights of Rebellion 2022 and along with The Bar Stool Preachers it’s reassuring to know that the future of punk rock (in all its various sub-genres) is safe in these guy’s hands.
Staying put in the Pavilion for the UK debut of Mick Rossi’s Gun St it’s great to see that we are not alone in having enjoyed Slaughter’s return the previous evening and Mick and gang have assembled a very healthy-looking crowd to entertain with songs new and old, plus the odd cover like ‘I Wanna Be Loved’ thrown in for good measure.
With an 8:30 curfew on entry to the RFest stage it’s at this point in proceedings that we leave our Woking Oi! correspondent to pick up on matters in the Empress whilst me and Dom head off to the seafront for some proper goff (double eff copyright Jimbob from Pizzatramp) action in the shape of Peter Hook & The Light and Gary Numan.
I really hadn’t been impressed with the sound at RFest when we caught up with The Undertones just 24 hours earlier, so tonight, we pick a spot nearer the stage and thankfully everything is crystal clear, Peter Hook delivering a wonderfully gloomy set on a glorious summer’s evening with Joy Division’s ‘Dead Souls’ being a particular highlight. As for Gary Numan, tonight is largely the same exceptional arena show that I witnessed on the opening night of the tour in Cardiff University back in April, albeit it’s now honed to perfection with the more recent material still taking precedence over any trip down memory lane, and the fact Numan continually mixed the set up throughout the ‘Intruder’ tour (tonight is the final night) is really why I’m here instead of watching the bands in the Empress. Playing to within a few seconds of the strict 10:45 curfew the fact that he chooses to encore with ‘The Fall’ from 2011’s ‘Dead Son Rising’ album and not say the likes of ‘We Are Glass’ or ‘Films’ (both of which he had played in Cardiff) shows just how happy and confident Gary is within himself right now, and for me this is easily the set of the weekend. Glorious stuff!
Heading back to the Winter Gardens, it’s the first time this weekend we have to queue to get back in, but as Cock Sparrer have just finished their set in the Empress that’s totally understandable, as this new Conference Centre entrance merges straight in with the traffic from the Empress and as a result could very easily lead to overcrowding. Anyway, a short wait in the cool night air never hurt anyone, and apart from my glasses steaming up when we do pass the Empress that’s thankfully the only inconvenience I experience.
Meeting up with our Woking Oi correspondent in the Arena he’s full of stories about how emotional the Cockney Rejects set was with the band now starting to wind down on touring from this year onwards and how Cock Sparrer once again delivered a killer headline set that has perfectly set up their two fiftieth anniversary shows in London’s Roundhouse in just a few weeks’ time. Which RPM will hopefully be covering too. Bosh!
With The Chisel being one of our must-see bands of the weekend, that’s the reason we are all in the Arena, and having witnessed them deliver an explosive set just a few months earlier in Le Pub in Newport I was half expecting the dancefloor to turn into something resembling an MMA event…BUT…it just never happens. Maybe it’s the fact that where we are standing the sound is so poor that it takes me three songs to actually recognise a song, and then it’s the title track from the band’s stunning debut record ‘Retaliation’, or maybe it’s the fact that it’s chucking out time in the pubs and having been on it most of the day, many (myself included) are just so tired all they really want to do head back to the hotel for some much-needed shut-eye. Who knows? But it’s the latter we choose to do and as such forego the chance to watch Bob Vylan’s upgraded set in the Empress at around 1 am, which turns out for many to be the event of the weekend. Ho hum!
As we walk back to our hotel near Blackpool’s south pier shooting the breeze, it’s the sound issue in the Arena that makes me missing Bad Nerves’ set on Thursday not seem quite so bad, and as Sunday would soon prove this wasn’t to be an isolated incident either.
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