Singer/songwriter Lucy Ellis, formerly of Aussie punk legends The Spazzys, relocated to London in 2015 and put together The Rats with Johnny Throttle guitarist Joe Tolosa, Animal Cannibal bassist Mike Cannibal and Three Tumbitas drummer Manu. And if the collection of band names mentioned in the previous sentence doesn’t whet your appetite, you should leave the building right now!
Following their 2018 self-titled debut album, Lucy & The Rats return with their sophomore record ‘Got Lucky’. An album that promises 12 tracks of delightful power pop, transporting you back to the golden age of Phil Spector girl groups as much as the sweat and grime of CBGB’S or The Marquee.
The word ‘Punk’ is flung about nonchalantly by reviewers to describe any band that has aggression and 3 chord distorted guitars to their sound. I put my hand up for being guilty for it too, but I wouldn’t use it to describe this London based four piece. As with the likes of RPM faves The Speedways and The Role Models, their sound is rooted firmly in a late 70’s/early 80’s new wave/power pop place, where clean, ringing guitars, sweet vocals and instant hooks reside. You see, there’s a heart-warming familiarity to their sound that stays with you long after the record has stopped spinning.
If you dig the debut, then you’ll love this album too, as its business as usual for this 4 piece. Opener ‘September’ builds on a sweet vocal over jangly guitars, which lead to a lush, harmony-filled chorus elevating the song to another level. 60’s inspired “woah-woah” backing vocals give a high energy, euphoric feel that will have you singing along before the first chorus ends.
Memories of first hearing the likes of Redd Kross and Teenage Fanclub come to mind as much as Blondie and The Go-Go’s for me. This is such a happy-go-lucky record that will brighten up the dreariest of days and do its upmost to cheer up those with a broken heart. The songwriting shines through, and it’s fair to say the fine art of a catchy chorus and clever use of song dynamics is not lost on these guys.
Next up they deliver ‘Real Thing’ which I can excitedly describe as The Shangri-Las doing Ramones. With twangy guitar riffs and cool vocalisin’, it’s a hook-laden sound of the summer, designed to blast from your radio and sing at the top of your voice.
Two tracks in and I’m already sold, I guarantee you will be too. The more punky ‘Pinch Myself’ sees the band ramp up the aggression. Urgent drums, gang vocals and guitars turned up to 11 sees the Rats channel the NY sound of Blondie and Ramones to the max.
Quirky lyrics and heartfelt sentiment takes us into Kirsty MacColl territory on the likes of ‘Time To Time’ and ‘Lucky’ as layered, sweet vocal harmonies and reverb drenched guitars gel perfectly.
‘Get Down’ has that classic 60’s Phil Spector feel. The drum beat, the percussion and the little guitar riff, the way the song builds is perfectly executed. The stops before the verses, the sultry vocal delivery, it all gels to make a perfect pop ditty that would’ve hit the top of the hit parade back in the day pop pickers.
Featuring more potential radio hits than you can shake a stick at, ‘Got Lucky’ is song after song, with not a bad track on offer and it’s highly enjoyable from start to finish. If your heart misses a beat at the mention of The Go-Go’s, or if you get all dreamy and misty-eyed at the sound of Blondie, or maybe you just miss the simplicity of a 3 chord Ramones pop song, then you could do no better than dig into what Lucy & The Rats have to offer. Dirty Water Records do it again delivering a great product from a fantastic band you need in your life right now. Hit the link below and buy the record, you won’t regret it.
Always a safe bet that you need to check out a release when it carries the Rum Bar Records logo and this album serves as another example of a great release. The Hi-End have released an excellent album based in classic rock n roll values with some cool additives that make this highly recommended. The band themselves feature members from other current Boston bands as well as an old favorite of mine the B-Movie Rats who should be familiar to many of our readers.
The opening guitar on ‘Looking for Some Kicks’ immediately provides an idea of what is to come. The attitude fueled vocals of Johnny Carlevale take us through the verse to serve up a catchy chorus with some tasteful backing vocals. The guitar interplay of Curt Flozcak and Bruno Giordano works perfectly. This is prime rock n roll. ‘Nervous Breakdown’ skates along a catchy guitar riff and provides some female backing vocals to go with the band’s own backing vocals. This is a winning formula all the time in my book. This is classic rock n roll with an emphasis on the roll. The guitar solo pops out of the speakers and brings us back for another run through the huge chorus. The band continue the party on ‘Perfect Company’ which immediately puts a smile on my face each and every time it plays. The band add some hand claps and howling here for this compact rocker.
Anthony Giordano (bass) and Scott Sugarman (drums) work perfectly as a rhythm team on this album with ‘It’s a Long Way Down’ shining a perfect example. The guitars dart in and around the beat with Carlevale laying down another great vocal. The group backing vocals add that little bit extra when they finally arrive. It took me a few listens to suddenly realize that this album will have your body moving without you even being aware of it. ‘Get in Touch’ provides a great mid tempo beat with excellent lead guitar work. The hook is mighty here, and I still find myself on repeated listens finding my favorite song changing as I work my way through the album with whichever one is currently playing taking the lead. The first side of the album ends with ‘Identity Riot’ offering yet another great hook that plants itself in your brain with a very brief breakdown that is probably a lot of fun live as I could see them extend it a bit in that setting before the big scream.
‘Feed My Need’ rumbles out of the gate to start the second half of the album and unleashes a chorus with a catchy groove and vocal hook. One constant that comes to the surface on this album is how awesome it would be to see them live. Sugarman shines on the drums here and gives the song everything it needs. The guitar solo is like the blood red cherry on the top. Next up is ‘One Day at a Time’ which reminds me of an older song in its feel, but I cannot place it. At almost five minutes, this is easily the longest song on the album. The song has a mellower feel with a great chorus. ‘Blood Red Lips’ increases the tempo with a down and dirty beat that again transforms into a great vocal hook. This is an album that oozes heart and soul with each song feeling like an old friend that you have been missing who suddenly arrives.
Starting the final quarter, ‘The Way She Moves Me’ motors along in fine fashion with the guitar work that leads the pre-chorus into the chorus being a highlight for me. This album hits the same sweet spot for me that the full length by the Poison Boys did last year in that it is one great song after another with a foot firmly planted in the spirit of rock n roll. ‘To Be Alive’ adds some piano to the mix with Carlevale laying down a great vocal. The song almost has more of a haunting feel due to the guitar riff running through the song and is another great example of the variety across the album. Album closer ‘A Way of Life’ roars to life feeling like a more restrained ‘Ace of Spades’ and serves as a great lyrical nod to Motorhead. It serves as a nice way to close out the album and get you in the mood to start it all over again.
If you like rock n roll with hooks, heart, soul, charisma, and more, this album comes highly recommended. There is nothing current about it, but there is also nothing that feels dated about it either. This is timeless music that makes us feel better and provides an escape from whatever we are facing. As we reach the midway point of the year, I am quite certain this album ends up being high on my year end list, and I anticipate staying in regular rotation for years to come.
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Nick Marsh was known best as founding member of ’80s Goth Rockers Flesh for Lulu, singing lead vocals and playing guitar on hits like ‘I Go Crazy’ and ‘Postcards from Paradise’. He was also a vital ingredient in the Urban Voodoo Machine’s “bourbon-soaked gypsy blues”, Perhaps the perfect foil for Frontmany Paul-Ronny Angel his cool smoldering guitar licks added a fine blend of quality and panache. Sadly, all that had gone before was brought crashing to a halt as Nick battled with illness. Tragically Nick died of cancer in 2015, He left the world this celebrated musical legacy and in 2010 he released the dark classic record that was ‘A Universe Between Us’, his much-loved solo debut.
Now a decade later we get the treat that is ‘Waltzing Bones’. Produced and co-arranged by his partner and musical collaborator Katharine Blake (Mediaeval Baebes and Miranda Sex Garden), the album includes tracks that were fully formed before Nick’s death as well as some that Katharine crafted around Nick’s vocals and his core melodies in a way she believes he would have liked.
The album features her vocal and instrumental contributions, as well as those of a stellar cast of some of the finest friends and musicians including David Ryder Prangley (Rachel Stamp), Ray Hanson (Thee Hypnotics), Nick Reynolds (Alabama 3), Paul-Ronney Angel (The Urban Voodoo Machine), Jim Jones (The Jim Jones Review and Thee Hypnotics), Clifford Slapper (Bowie Songs One) and Charlie Cawood (Mediaeval Baebes).
Waltzing Bones is eleven songs that soundtrack the late nights from the opening ‘Masquerade’ with its spiraling piano rolls on the intro its a perfect Nick Marsh track that’s painting landscapes with his softly hushed lyrics. Like a fine accompanying red wine, it’s a faint hint of the smoldering ashtray as the skies break and a clear twinkling of stars smile in the black night, it’s a beautiful opener that’s for sure. Real hair on the back of one’s neck stood to attention moment.
That panoramic widescreen feel was always one of Marsh’s fortes and even on the Hits, there was a grande world view like a chic Cannes flick as opposed to a popcorn Westend multiplex vibe it’s always been sophisticated subtitled black and white or sepia tones.
Blakes soaring vocals are the perfect foil for Marsh’s hushed style is a wonderful thing on ‘Gotta Run’. It’s sometimes a worry when a recording is posthumously released but this is a joy, a real pleasure the wheeze box and horns of ‘Somma Ma Friends’ and its Jazzy vibe remind me of some of Daniel Ash’s work but I’d rather have some vocals if I’m honest. The western desert-like feel of ‘Temptation’ is a chance for Marsh to pull off his best Barroom croon. ‘The Day It Rained Forever’ could have fallen off the Suicide Twins Album or a lost Tom Waits album minus the bourbon-soaked piano top. In contrast, the guitar amps are turned up to Bolan Boogie levels for ‘Crazy Eyes’.
‘Spider Woman’ is more of that old jazz then the ‘Shiny Void’ is an epic six-minute nylon strung and hushed soundscapes kinda’ tune. Which only leaves the title track to sign of this marvelous piece of work. I don’t think Marsh ever made a bad record and I’m sure he’d be proud to have this released in his name at time beautiful, often tinged with sadness but always exceptional. Thanks to all involved there is a star that will shine brightly in the night sky every time I pour a red and toast the unique talent with another spin of this album. Buy It!
Bob is back in the house and it seems like another Age when Sunshine Rock was the order of the day. But boy, How good does this new track sound?
Next up is more angry punk rock courtesy of Girls In Synthesis with their new video ‘The Images Agree’ taken from the forthcoming debut album ‘Now Here’s An Echo From Your Future’
How could we not include this the new video from The Dowling Poole. ‘Deep Breath’ is the song check it out.
To celebrate the 6th anniversary of The Boys critically acclaimed album “Punk Rock Menopause” as well as the album track “I’m A Believer” passing a quarter of a million plays on Spotify, Action Records will release a Special Limited Edition yellow & black marbled vinyl copy on 20 June 2020. The release is strictly limited to 100 individually numbered copies. This Limited Edition will also come with a free mp3 download of the whole album.
Action Records will also release “Punk Rock Menopause” on regular black vinyl, the original black vinyl release having been unavailable for four years.
On its release “Punk Rock Menopause” became The Boys first new studio album for 33 years and featured original founder members and creative core of Matt Dangerfield, Casino Steel and Honest John Plain. The album is packed with 13 iconic songs bearing the band’s classic trademark blistering guitars, hard-edged melodies, killer hooks and layered harmonies.
“If you love music, give this album a home. This Menopause is red hot!” – Rice Cooker
“Matt Dangerfield, Casino Steel, and Honest John Plain, the writing nucleus of arguably the greatest punk-pop-power-pop band of all time, are back!” – Audio Ammunition
“Comeback Album of the Year!” – Soundtrack 4 Life
“Album title of the year” – Classic Rock
“Ringing guitars, booming drums & bass, punk swagger and grit, mixed with pure pop melodies, vocal harmonies and most importantly great songs – A scorcher!” – Nippertown
“Power chord riffs, harmonies and titanic choruses were always this outfit’s stock in trade and they’re not about to skimp on them now” – Vive Le Rock
“It’s absolutely great, everything you’d expect from The Boys” – Bucket List
“With the opening chords of ‘1976’ you recognise that distinctive guitar sound and when the vocals start, it takes you right back to the glory days of 1978. One catchy song after another, full of simple effective melodies, lovely harmony vocals, great chugging guitar and winning vocals” – Punky Gibbon
“The Boys are indeed back in town, and it sounds better than ever” – New Noise Magazine
As an ex-Bedfordian, I have a soft spot for the local rockabilly boys The Broadway Twisters. It’s a tough musical niche to do well, and they really do excel at what they do. Fans of The Urban Voodoo Machine will know Twisters main man Adrian Stranik from regular stints with Paul-Ronney Angel’s gang. He’s been fine-tuning the Twisters for a few years, since the end of his previous band, The Silver Brazilians. So, if you dig the scene, let’s jump in…
‘Night Tripper’ sets the pace, and should get you up and bopping. It could, in the best way imaginable, be 1956. Fast and lean. ‘Fender Car Disaster’ is John Lee Hooker on amphetamines, ‘You Give Me Nothing’ is as good as three chords gets; they are clearly loving every minute of it. ‘Girl With A Gretsch’ adds a touch of Mr Cash via Bill Mann’s bass.
‘The Madness Of Suzuki Seijun’, with accompanying video, gives a taste of their style. ‘Probably North Street’ features harmonica from another UVM buddy, Long John, and keeps it’s cool while name checking Milton Keynes. ‘TV Times’ slows things marginally, and Adrian shows us his best Cliff Gallup licks. ‘Any Dope Can Pull A Gun’, previously a live favourite by The Silver Brazilians, with added keyboards by producer Nick Mailing, is an absolute belter. ‘Crack, Baby’ is another familiar song from the many times I’ve seen the band. And, their take on The Urban Voodoo Machine’s ‘Cheers For The Tears’ is furious. Put simply, if you love Sun Records, Gene Vincent, The Stray Cats, Gretsch guitars, Johnny Cash, you need to listen to this album. Go, daddio!
The DeRellas – ‘Inner City Rock ‘N’ Roll’ (Rockaway Records) produced at Perry Vale Studios by the legendary Pat Collier. Set in a world of isolation, this is a frantic underworld of Trash as The DeRellas set their time machine for the Bowery and a table booked next to the Dolls and Bowie. Its brash and the most in your face dirty punk n Roll the band has ever sounded and its a gas gas gas! Timmy and Luca dish up an appetizing dish of Inner City Rock ‘N’ Roll its a dash of glamour in a seedy dark nighttime world thats just been set on fire and this is the soundtrack blairing across the city. The new album ‘Something’s Got To Give’ will be out at the end of 2020. so until then this will be Available on download at iTunes, Amazon, Spotify etc.,
Stevie R. Pearce & The Hooligans – ‘Rip It Out’ (Self Release) Rip it out for Rock and Roll! Stevie R Pearce & The Hooligans are in the house kids and they’re locked and loaded with a truck full of huuuge Riffs as this lead track set to be released later this month testify being locked up has fueled the fire of a beast of a band who are ready to Rock. Big stomping Riff with a super steady rhythm pounding away as Stevie swings from hushed vocal verses to the soaring chorus. Rock is not dead and a global pandemic can’t stop this juggernaut. Get ready kids its a coming! Pissed off and ready to let you ‘ave it!
Volcanova – ‘Sushi Sam’ (The Sign) Volcanova released an interesting and amusing music video for the single “Sushi Sam”, the first taste of their upcoming album “Radical Waves” out August 21st. Facebook
R.M.F.C. – ‘Reader’ (Anti Fade Records) R.M.F.C. (or Rock Music Fan Club) is the brainchild of 18-year-old Buz Clatworthy, who writes, performs and records all of the group’s output himself in his bedroom in South-east NSW.
The project began in late 2018 after showing a friend a demo, in which they encouraged a proper release. A hypnotic rhythm rattles along, an extremely listenable tune that has a great raw guitar hanging in tune by a thread but as the Buzzcocks type tune also hums with a sweet keyboard. Not an instant hit to be fair but worth investing in for sure.
Nico Bones – ‘Cheatin Heart’ (Dead Beat Records/ Wanda Records). We occasionally miss a great release and for that, we can only beg your forgiveness. Originally released late 2019 this Cali based bunch of punks showed up on our radar when Dead Beat picked it up and put it out in this month’s releases. Nico Bones plays a blend of American Rock ‘n Roll influenced by the sleazy original punks like the Heartbreakers, Dead Boys, and the New York Dolls. The first song sounds like an upbeat Ramones outtake circa 1976… rambunctious and rockin’. They follow it up with 3 more cheatin love songs with snotty vocals, supercharged leads, and catchy melodies that sit somewhere between Johnny Thunders, Stiv Bators, Sonny Vincent, and Jeff Dahl. Facebook / Bandcamp
The Hip Priests – ‘ZFG 2020’ (Shitpark Records) Nothing new going on you say? well, you might be half right but this is the 2020s latest line up of The Hip Priests taking to task one of their finest songs, ‘Zero Fucks Given’. What was already an absolute banger of a tune one of their finest I don’t mind admitting. Is it possible to love a track more? possibly. This sounds huge and I mean colossal huge but not production huge. It always had that Stooges groove but I’m sure if Iggy were to hear this he’d doff his cap and prob ask if he could cover it on his next album and bow out on top. In recognition of what was built on the Stooges foundations this raw pissed off anthem is still a fuckin’ beast. On the flipside is ‘Social Hand Grenade’ taken from the bands last album ‘Stand For Nothing’ and it seems and sounds more apt with every passing day. One of the albums standout tracks (on an outstanding album it has to be said) With a limited number of these available you have to be quick to jump on this one as the gang of believers grows with every passing day. One day they will blow up and explode on the wider public. Shit Islands finest are back in the groove. Facebook
Mäsh – I Don’t Want You’ (WandaRecords) Facebook /Bandcamp Alright let’s go! a sloppy twelve-bar Quolian riff gets proceedings off to a flier and by the second verse they’re running through the Chuck Berry guitar lick 101 handbook and we’re down with that all the way. The song fizzes like a good un and is catchy as hell. Love the breakdown all it needed was more handclaps and possibly some cowbell and it might have become the blueprint for all future punk rock n roll sleazy singles but we also understand you don’t want to shoot your wad early doors and keeping something in reserve is cool. The B Side ‘Whisper’ is like a really good Diamond Dogs tune I’m sure Sulo would be down with these cats as they shake their shit on another top tune. Rock and Roll can’t always be serious or dark sometimes its fun and living in the moment and Mäsh have got it going on and even double denim is cool as fuck just like this singe is.!
PizzaTramp / Incision – ‘Split’ (Self Release) Imagine being bludgeoned to death by a blunt weapon but quite enjoying it as long as it doesn’t hurt too much and doesn’t last more than 3 minutes. That what this Split is like. Repeatedly smashed on the head by a few guitars and a bass drum pedal and some throat-clearing its not painful though and it’s quick but like I say its enjoyable. Two songs each and Pizzatramp win by virtue of being Welsh and their two songs last a progtastic four minutes but fair play to Incision ‘Jennifer Anniston’ is fuckin’ brutal. Buy Here
Wonk Unit – ‘Summer Time/You’re Sick’ (Plasterer Records) Laugh I nearly went to Ethiopia. Fair play to Alex and the gang this is a fuckin hoot. One of if not the most surreal and barmy summers ever now has a soundtrack. Maybe inspired by the likes of Blue doing ‘Girls and Boys’. Part dance euro-pop trash but obviously with a huge dollop of Wonkiness. “Sexy boys sexy girls touch yourself” had me holing I have to be fair. but once it’s in yer noggin’ it’s not leaving any day soon. To cleanse the palate for many is the classic slice of Wonk with ‘You’re Sick’ bringing up the rear. With a steady beat and familiar caustic guitar riff-a-ram Wonk Unit knock it out of the park as they say in ‘merica Buy Here
Godfathers – ‘I’m Not Your Slave’ (Self Release) The Godfathers’ brand new, double A-side – ‘I’m Not Your Slave’ & ‘Wild And Free’ Available in limited edition, clear red vinyl single & also limited edition 4 track CD that features the 2 songs, plus demo versions of both songs unavailable in any other format!! pre-order NOW only from Here This release is for the 35th anniversary of the band’s existence. From the iconic debut to this, there has always been a recognisable sound with crisp, driving guitars and a tight rhythm section and its pleasing to say ‘I’m Not Your Slave’ has all the hallmarks of a classic Godfathers tune. The other side is a steady anthem in the shape of ‘Wild & Free’ following a healthy linage of rockers with attitude from the gang vocals in the chorus to Coyne’s spoken vocals its got groove but I tip my hat to the guitar soloing that’s on display here. Interesting times as the next chapter of The Godfathers unfolds.
The Mercy Kills – ‘Alone’ (Golden Robot Records) Melbourne’s THE MERCY KILLS release their newly remastered single ‘Alone’. The track is taken from their debut album ‘Happy To Kill You’ and has been remastered and re-released as a single for those reaching out digitally in COVID-19 isolation. The message is simple, “You can’t make it alone!” Mixing up the influences of the likes of L7 from the Grunge heyday along with something more rock such as Faster Pussycat with attitude born from the likes of The Ramones. Facebook
The Dust Coda – ‘Early Days – Raw & Unplugged’ (Self Release) In this almost surreal pandemic world, the band decided to brush the dust off some old recordings and release a collection of four acoustic tracks, which will give fans an intimate listening experience. This EP further unveils The Dust Coda calm soothing acoustic works. Each song as gentle as the previous with an almost Southern rock warmth akin to the lighter workings of The Black Crowes sound and style. Throughout the EP mellow guitar riffs combined with the gritty vocals are the key elements setting the scene for an intense acoustic journey. Electricity was used to power a guitar but not a lot. Chill out in the sun and socially distance kids this retro southern rock will do the job. Facebook
Larkin Poe – ‘Back Down South’ ( ) Featuring guest appearance from fellow Nashville musician Tyler Bryant this is another slice of Southern Roots-Rock with some really strong vocals all round and with subtle swirling Hammond thrown into the mix it’s not just about the cotton-picking guitar licking as it approaches the crossroads from the fuzzy slide, these sisters have got it going on with a tune thats got an air of extreme confidence it never breaks out remaining laid back right to the bitter end. Taken from the forthcoming album ‘Self Made Man’ this will only add to the expectations of the long player.
Onslaught – ‘Religioussuicide’ (AFM Records) U.K. Thrashers present their new single ‘Religiousuicide’, The song is taken from the upcoming album ‘Generation Antichrist’, which will be released in August. ‘Religiousuicide’ marks the debut of new vocalist Dave Garnett who recently replaced long term frontman Sy Keeler. They’re not reinventing the wheel here kids its Thrash Metal as we know it and its exercised to perfection from the rumbling gutwrenching bass to the pneumatic drumming Dave Garnett settles in nicely as the guitars buzz around the speakers towards the dueling solo. thrashtastic and you know it dives bombs rapid tapping, frantic double bass its all here present and correct and it also has the gang vocals – job done.
Dead Horse – ‘Night’ The first cut from Londoners Dead Horse EP released next month. Dead Horse formed in 2019 when former Love Buzzard frontman Kevin Lennon (bass/vox) returned to London from Brighton, meeting up with long time bandmates (Rumour Mill/Kids From K Hole) Duncan Clark (drums) and Josh Kemp (guitar) via a mutual interest in garage rock/punk, old and new. Facebook
“How do you define success? If you let somebody else define what success is, you’re a sucker. I’m no sucker.”
Chuck Prophet started out as a post-punk California kid who helped kick-start the alt-country genre when he joined Dan Stuart’s Green On Red, then making a name for themselves as part of the so-called Paisley Underground alongside bands like The Dream Syndicate and The Bangles. While Green On Red established a reputation for self-destruction illuminated by flashes of brilliance in the studio and on festival stages around Europe in the late 1980s, Prophet simultaneously immersed himself in roots music and forged a solo career via backroom and basement venues across his adopted home of San Francisco. He has emerged as one of the most respected musicians of his generation, admired for his talents as a songwriter, guitarist, vocalist, and live performer. He has worked with the likes of Tony Visconti and Warren Zevon, and his songs have been performed by artists as diverse as Bruce Springsteen and Solomon Burke.
Those who know him through his social-media presence or his live shows are well aware that no one tells a story quite like Chuck Prophet; here, his voice rings clearly from the first page to the last as he gives his perspective on writing, recording, and performing, and talks candidly about his struggles and remarkable recovery from years of addiction. As Prophet’s official archivist, author Stevie Simkin draws on over a hundred hours of interviews with his subject, as well as contributions from fellow musicians, producers, friends, and associates, and unique access to unreleased songs and live recordings and scores of previously unseen photographs. Time and again, Simkin puts the reader in the room with Chuck as he talks, or in the studio as he plays, and the live experience is captured from both sides of the stage monitors.
An exciting rock’n’roll odyssey, What Makes The Monkey Dance… is essential reading for every fan of this phenomenal artist, but also for anyone with an interest in alternative music during a period seismic change, offering a fascinating portrait of how a true artist has managed to carve out a career at the sharp end of a notoriously ruthless industry.
I guess if someone were to mention one of the bands in a cluster of quality Southern Rock bands it would be a good bet that Warner E Hodges big assed grin will have shared a stage with them at some point and has long been the sparring partner of class act Dan Baird
The album opens up in sprightly fashion with an out and out twelve-bar rocker in the shape of ‘Preaching To The Choir’ call it what you like Alt-Country, countrified Rock and Roll or American to me it’s just some straight down the line honesty to Goodness Rock and Roll. It has to have swing, it has to roll as well as rock and it has to have a hook. that to me sounds like a pretty decent blueprint to start writing songs from and it stood Hodges in good stead previously be it with his foils in Baird or Jason.
Think aa side of DC (as in the Angus variety in the clarity of that six-string punch) and a dollop of that rock-solid backbeat but being open and willing to go wherever the song dictates. there is some exquisite playing on the fine ‘Last Train Outta Town’ as you might expect.
The pace is changed up for ‘The Magician’ where you get to waltz a little closer to that country twang that you now is in his heart. I will add here that Hodges has a fair set of pipes on him and he might have hidden that particular talent under a bushel when working with his pals but he can wail kids – yeehaw!
I do like the strut of ‘Where You Gone’ and the band sound like they’re having a ball in keeping that rhythm on a tight leash. The record bounces from tempo to tempo but within a style, you’d expect and I’m sure if you know Warner’s work you’re going to find plenty here to make you smile and know you’ve spent your money wisely. Oh, and I love the saxophone on ‘Higher Ground’ it sounds great on one of these boogie-woogie tunes and makes you wonder why it doesn’t feature more often. On that note the honkin’ harmonica cuts through ‘Don’t Bring Me Down’ and I must say its the kinda song I like best. Uptempo, with a dash of attitude and some rollicking guitar playing.
Which only leaves the token acoustic strum at the end of the record. It’s ok I guess – traditional, minimalist cliched lyrics but don’t let me put you off because of one song. This record is really good and as far as debut records go it does seem kinda funny calling it a debut album but the Warner E Hodges band know exactly how to do the countified Rock and Roll loudly and do it really well you know it makes sense and it does Just Feels Right.
Singer/songwriter Lucy Ellis, formerly of Aussie punk legends The Spazzys, relocated to London in 2015 and put together The Rats with Johnny Throttle guitarist Joe Tolosa, Animal Cannibal bassist Mike Cannibal and Three Tumbitas drummer Manu. And if the collection of band names mentioned in the previous sentence doesn’t whet your appetite, you should leave the building right now!
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