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Professor and the Madman – ‘Séance’ (Fullertone Records)

Professor and the Madman – ‘Séance’ (Fullertone Records)

I hate concept albums as the 16 year Punk Rock Kid inside of me still thinks of some Prog Bloke in a Wizard’s Hat and Cloak stabbing his keyboards, which takes up the space of a fitted wardrobe, with a large Kitchen knife whilst the drummer enters the 20th minute of his half hour drum solo.  Right, now that’s out of the way; my favourite Bass Player ever is Paul Gray who found fame with Eddie and the Hot Rods, The Damned, UFO and erm Andrew Ridgley. One of my three all time favourite Drummers is Rat Scabies who fortunately played on the ground breaking Damned albums “The Black Album” and “Strawberries” with the aforementioned Paul Gray. So when the news broke earlier this year that once more Scabies and Gray would be joining up with Alfie Agnew (Adolescents, D.I.) and Sean Elliott (D.I., Mind Over Four) for the follow up to the Professor and the Madman’s “Disintegrate Me” album I reached for the Box of Kleenex. However, my hand hovered as the words “Concept album” was banded about. Of course the middle-aged me knows that any Genre can tackle the idea of a Concept record, Jazz, Blues, Classical and even Punk, but having quality musicians play on an album doesn’t automatically mean you’ll pull it off, see “Son of Albert” by Andrew Ridgley. “Séance”, is the story relating to a group of mates who hold a séance to say one final farewell to friends who have obviously died,” does manage to pull it off and rather well at that, in the manner of “Sgt Pepper” and “Yellow Submarine.” It does feel as it should be a West End or Broadway Musical, the soundtrack produced by George Martin cue a séance. 

 

“All the lonely Soul” is the brooding intro before the title track introduces us the main characters longing to reconnect with their past and lost loved ones through a séance. “So Long” starts off with a Monkees style intro before we’re taken though a journey of what seems like regret or reflection. Something that does come across throughout the album is the great vocal Harmonies. Alfie and Sean take it in turns in the lead vocal department but it’s the chorus’ that would make Brian Wilson proud. After “So Long” the character in “Real Me” contemplates the Devil on his shoulder. It’s probably the best song the Kinks never wrote. “Child’s Eyes” looks back at how things through adolescent eyes are so much simpler whilst in adulthood it “Seems like the jokes on each of us”. There are two types of people who play bass; Bass Players and Bass Guitarists. John Entwistle, Lemmy and Paul Gray are Bass Guitarists; they play their instrument as if it was a lead guitar and Paul’s style so fit’s in on “Séance” you couldn’t imagine anyone else doing a better job. “Time Machine”/Man With Nothing To Lose” introduces us to another couple of characters; the Scientist who has had enough of reality and wants to build a time machine to go back to his perceived better era. Now “Time Machine” really screams ‘Musical!!’ I can see in my mind a row of men in blazers and straw boaters jazz handing across the stage, all that is missing is trumpets! A homeless man overhears the Scientist in the more downbeat fairground sounding “Man With Nothing To Lose” and imagines what could be achieved if time travel was possible “We could go back and fix all our mistakes. Build ourselves mansions with the money we’d make.” And “Hit 1980 and go see The Damned” If only, if only! “Two Tickets To The Afterlife” returns to the original character who now finds himself in a Game Show set in Hell with some choice prizes “We’ve Got Thrills, we’ve got pills, we’ve got million dollar bills. We’ve got weed, we’ve got speed, we’ve got everything you need” but they all come with a price. “…Afterlife” is probably the heaviest track on the album. Once off the Game Show our main man now finds himself in front of “The Council of Purgatory” who confuses him with their gentle overtones, almost a Barber Shop quartet? Again I can really see this on the West End Stage. “All The Lonely Souls” is reprised as an instrumental that finishes of the main, first act. 

 

“Greetings From The Other Side” starts the final act with the reawakening of mankind after 2000 years frozen in stasis, with questions and concerns of the album’s protagonist answered by the ‘Forces’ “We did not die, we were never here.” The album ends with “New World” with the ‘Forces’ leading mankind to Utopia, the Garden of Eden, you decide but warning, pleading with us to “take care of your new World, not like the old world and teach the children not to hate, because if you don’t…Maybe we’ll see you again.” 

 

Did I ever tell you I love a good old concept album?   

 

“Séance” by the Professor and the Madman is out on the 13th November on either yellow vinyl, CD or digital Download via Fullertone Records that you can pre-order at www.professorandthemadman.com   

Author: Armitage Smith

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Roll Up Roll Up – “Spaghetty Town Records Circus” is Fast approaching

Roll Up Roll Up – “Spaghetty Town Records Circus” is Fast approaching

“Spaghetty Town Records Circus”, five bands from three countries in the live music streaming event of October!

 

Even Spaghetty Town Records artists are itching to play live.  So Teddy Spaghetty and Criminal Kids put together a roster of live music like no other.  Fast Eddy, Killer Hearts, Pale Lips (Canada), Motosierra (Uruguay) and Criminal Kids will be live streaming on October 22, 2020 at 9pm ET / 6PM PT.  Almost all new performances.  An event of this scale can only be hosted by the Sleazegrinder of Classic Rock Magazine / Heavy Leather Topless Dance Party fame.

When asked about the event Teddy Spaghetty said “I can’t believe this is actually going to happen, many of our bands normally don’t have it together, but somehow pulled this off”.  Over the last few months, each artist has been practicing up to bring you all the best live performances they can.  The Spaghetty Town Records Circus will be streaming on Facebook and Youtube.

Details will be on the event page. Here

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Tuk Smith & The Restless Hearts release Video for ‘Same Old You’

Tuk Smith & The Restless Hearts release Video for ‘Same Old You’

This is the third single taken from the forthcoming album ‘Looking For Love, Ready For War’, which is set for release in 2021. Same Old You was produced by the legendary Rob Cavallo (Green Day, My Chemical Romance) and co-written with Atlanta-based writer/producer Butch Walker (Green Day, Weezer, Fall Out Boy, Pink, Taylor Swift), it is a fun and upbeat rock and roll number with infectious melodies and artful musicianship, with lyrics about a relationship gone wrong

The song was co-written with Butch Walker. Tuk says of the experience, “It was really cool to write with Butch Walker, something I’ve always wanted to do. In Atlanta, he is a hometown hero and a really big inspiration to me so to be able to write with him was really special. I’m super stoked the song turned out so good. You never know what’s gonna happen, we had really good chemistry and it was a lot of fun”.

 Tuk’s musical roots run deep. Growing up as an outsider in rural Georgia, he found solace in hardcore/punk acts like Black Flag and The Exploited. From there, Smith branched out into exploring seventies New York bands like The Dead Boys and New York Dolls, which lead him across the sea where he embraced first-wave British acts like The Buzzcocks and the Clash. Smith wasn’t just a casual fan of these acts, he was obsessed with them and traced their lineage with fervent dedication. “I was always into the Clash growing up and Mick Jones’ favorite band was Mott The Hoople, so through the years I ended up developing a love of the first wave of british glam, power pop and things like that,” he explains. Soon Smith was forming his own acts, toured relentlessly and building a DIY following with his high-energy live shows.

Looking for Love, Ready for War is an album that has been a long time in the making and due to be released in 2021. It is the culmination of Smith’s already impressive career in music and showcases the versatility of his songwriting. His love of rock, punk, and glam come together into a unique amalgam that is at once fresh and new and also harkens back to music that is missing from today’s musical landscape. In many ways, it’s a musical homecoming for Smith that shows that though he’s covered with battle scars from perfecting his craft, he’s come out on the other side with an amazing collection of songs.

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MANIC STREET PREACHERS – CHANGE OF CARDIFF NHS DATES TO 2021

MANIC STREET PREACHERS – CHANGE OF CARDIFF NHS DATES TO 2021

 CARDIFF SHOWS PAYING TRIBUTE TO NHS STAFF NOW MOVED TO JULY 2021

Manic Street Preachers have moved their previously announced shows in December at the Cardiff Motorpoint Arena to Friday 16th and Saturday 17th July 2021. This is due to the ongoing Covid 19 restrictions for the live music industry.

The first night is a free show for NHS staff, the second had tickets available to the public with all profits going to NHS Wales charities.

All tickets remain valid for the rescheduled dates but anybody who is unable to make the free show for NHS staff should contact Ticketmaster so they can be offered to another member of NHS staff.

The band who have championed the incredible NHS for many years explained: “We wanted to do something to show our appreciation, love and respect for the NHS and its amazing brave workers. One free show and one fundraising show seemed the best way for us to express our deep gratitude for all their heroic work. We tried our hardest to make these shows happen in December but due to the current situation have had to move them to 2021.”

New Dates: Friday 16th / Saturday 17th July 2021 – CARDIFF, Motorpoint Arena

Low Cut Connie – ‘Private Lives’ (Contender Records / Haldern Pop Recordings / Rough Trade)

Low Cut Connie – ‘Private Lives’ (Contender Records / Haldern Pop Recordings / Rough Trade)

Low Cut Connie main man Adam Weiner stands at his piano in his dressing gown, his mop of corkscrew hair dangling in his baby blue eyes like some crazed, Jewish Jerry Lee Lewis. Those same eyes stare directly at the screen as he sings his heart out for yet another of his weekly livestream events beamed from his living room. These weekly ‘Tough Cookies’ episodes are the new normal for a musician who had 150 plus gigs booked this year to promote the release of his band’s new album ‘Private Lives’. It’s a chance for the musician to connect with his audience, play songs and interview fellow creatives.

Covid times have derailed the lives of all musicians and entertainers for the near future and many are adapting and turning recent events around to do what they can to survive and continue to bring their art to their fanbase while live music is a no-no. You can’t keep a good band down and albums are still being made. ‘Private Lives’ is Low Cut Connie’s 6th long player. An ambitious 17 track double album that continues the Philidelphian resident’s obsession with the inner workings, the ‘private lives’ of everyday people.

The title track kicks the whole thing off in fine form. The upbeat rocker is the sort of tune a T Bird would’ve used to woo a gal like Sandy. An overly familiar drum rhythm thumps like a heartbeat alongside finger clicks, before a killer vocal refrain imbeds itself in your skull. Low Cut Connie have a knack of doing this sorta shit to ya on a regular basis!

Adam then takes his pals to church on the anthemic ‘Help Me’. A euphoric release of emotion. A cry for help. A plea for salvation. Call it what you will, I call it cool rock ‘n’ roll, baby! A great piano riff, a killer guitar lick and cool cat drums lead us into an emotive vocal performance. 2 tracks in and I must say this is one of the most live sounding records that isn’t actually a live record. If the band were intending to capture even a snapshot of their live show, then I say job well done here.

Clever use of space, interesting arrangements that thrill with every new listen, and melodies that stay with you long after the (virtual) needle has left the groove. These are the things that make ‘Private Lives’ an album you will want to return to again and again. Add to that a keen knack of character observation and storytelling that matches the likes of Bruce Springsteen and Billy Joel.

The songwriter manages to put you in the shoes of characters, where you can feel their pain, their despondency and their frustration of daily life. All the time emulating his heroes to great effect. Nods to The Boss are ever-present in the likes of ‘Run To Me Darlin’, but none so more than ‘Look What They Did’, Adam Weiner’s self-proclaimed follow-up to Springsteen’s ‘Atlantic City’. Armed with just a lone piano and a background of mournful strings he tells a tale of hopes and dreams being destroyed by profiteers who abandoned the city to ruin.

 

Stories of underdogs litter ‘Private Lives’ and its these tales that draw the listener in and make them feel akin to the stories and part of the album. Take a rowdy, rock n’ roll road trip with the likes of ‘Take A Little Ride Downtown’ or ‘Tea Time’. Witness Adam channel Elton John to perfection in the likes of ‘Charyse’ and the ballistic ball breaker that is ‘Nobody Else Will Believe You’. A song that makes me yearn for a live music fix live never before. Damn you Adam Weiner, damn you!

The highlights are plentiful. The fun time blast that is ‘The Fuckin You Get (For The Fuckin You Got)’ is like a profanity-filled Huey Lewis And The News cut. Nifty guitar licks and sleazy sax mix with Weiner’s piano runs. For me, it’s an album highlight. The live feel continues in the glorious and ramshackle ‘If I Die’. A jammed out, sloppy guitar lick introduces the song, the singer drawls “ok-ok” before slamming the keys and leading his band into a dirty, sweat-soaked blues workout.  Like Exile-era Stones, this is late night, whisky soaked juke joint music, capturing the live energy and essence of a Low Cut Connie show to the max.

 

While Adam Wiener’s challenge of exploring internal lives has been realized with an ambitious and emotive double album containing great storytelling and quality songwriting, ‘Private Lives’ feels like a fly on the wall exclusive invite to a Low Cut Connie recording session. I like the way some songs feel unfinished and shortened, how some segue into others unexpectedly. This, along with the production give a ‘live in the studio’ feel that is perfect for a band that thrives on their live performances. Gospel-tinged sing-alongs rub shoulders with piano led barroom boogies, as Weiner sweats his heart and soul out with his tales of the underdogs that we can all relate to.

Buy Private Lives Here

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Author: Ben Hughes

 

 

 

 

 

 

 

 

 

 

L.A. Guns* – ‘Renegades’ (Golden Robot Records)

L.A. Guns* – ‘Renegades’ (Golden Robot Records)

I thought long and hard how to start this review as this really is an unfortunate situation for those of us who have liked L.A. Guns throughout the years. I added the * to the name here as I really don’t consider this L.A. Guns. The legal system can work out who owns the name, and I understand the line-up changes throughout the years as I remained a fan throughout them. When L.A. Guns released their debut self-titled album many years ago, I became a fan and loved the record more than Appetite by that “other” Guns band at the time. The band never shied away from trying new things over the years, and things really did not go sideways until after the release of ‘Vicious Circle.’ Records like ‘American Hardcore’ and ‘Shrinking Violet’ really served as a band trying to find their way through a musical world that had completely changed and took recording budgets and major labels with them. I cannot tell you the last time I listened to either album outside of a song or two. ‘Man in the Moon’ started to right the ship and found Phil Lewis singing again. The band then released the very good ‘Waking the Dead’ which I continue to play quite a bit. Of course, this is L.A. Guns so all kinds of line-up shuffles took place over the years with there not being one constant member throughout everything. Lewis and Tracii Guns though are who I think of when I think of L.A. Guns. When I found out that Steve Riley and Kelly Nickels were going to perform under this band name, all I could do was shake my head and wish they would have named it something different. With Guns and Lewis already recording and touring together again as L.A. Guns, this just seemed pointless, especially since those new L.A. Guns records have been very good. Alas, I am here with ‘Renegades’ and dealing with the dilemma of treating this like a brand new band or in the shadow of L.A. Guns. Does it matter at the end of the day? Perhaps, it doesn’t because every album should be judged on its own merits, but the past is always there too. I will also add that I really had no intention of ever listening to this record because it is “not” L. A. Guns. I wanted to at least acknowledge that bias on my part because, as it turns out, I would have missed out on a record I enjoy.

 

I hate starting out with something that works against the band and album, but one of the items that hinders them is starting with a song that has more of a L.A. Guns feel without that extra spark to make it a special song. By now, many people have heard the song in question- ‘Crawl.’ I don’t mind Kurt Frohlich’s vocal here, but my gut tells me I should be hearing Lewis whose voice is L.A. Guns in my book. Nickels though has written a song that really taps into the L.A. Guns spirit. It has grown on me with multiple listens but goes back to trying to treat this album in a vacuum. The album kind of stays in the traditional hard rock mode with ‘Why Ask Why.’ It faired better on my first listens because it felt more like its own thing, and I really like the guitar work by Scott Griffin and Frohlich here. It helps change the tone of the album with ‘Well Oiled Machine’ feeling more like a L.A. Guns rocker. This song has been another grower for me. Frohlich does not have a wide vocal range, but his vocals work with the music which is what is ultimately important. I have no doubt that Riley and Nickels are enjoying themselves as the rhythm section is a great team with plenty of experience working together.

 

Next though is when the band really starts to find its stride with ‘Lost Boys’ mixing things up as a mellower rocker in the verses before kicking it up a gear for the pre-chorus and a cool singalong chorus. The guys have crafted a great song here with Frohlich delivering an excellent vocal. Griffin delivers a solid solo as well. This is also the longest song on the album but seems to go by in a blur. ‘You Can’t Walk Away’ then comes in as a soft rocker with the band going for some big backing vocals more in line with the likes of music from 60 years ago. This was where the band tightened their grip on me during my first listens. In the past, lighters would be swaying in the air during this one throughout the chorus… Back when we had live music… It closes the first half of the record in style.

 

Starting the back half, the guys maintain their momentum with the hard rocking ‘Witchcraft’ being another highlight from the album. This currently stands as my favorite from the album with the band combining perfectly on every level. The chorus is addictive and completely different from what they have done elsewhere with great work by Frohlich. Riley and Nickels push the rhythm in some excellent ways with Griffin adding some brilliant guitar. This would have been my first single from the album. ‘All That You Are’ continues the hard rocking and keeps the body moving to the music. The beat by Riley and Nickels gets props again with Frohlich delivering another really good performance and using some different techniques throughout the song. The band then go acoustic with ‘Would’ which gives the album a different texture. This feels more like a 70’s hard rock ballad. It is definitely not my favorite from the album, but it is also not one that I am going to skip when the record is playing. I think Frohlich is better served with the other songs here though as this one kind of swallows him in my opinion.

As we reach the end of the record, we are greeted with the title track which gets us back to a hard rock tempo with some guitar accents dancing around the beat. The chorus here doesn’t hit the mark for me, and I think the band could have delivered some backing vocals around Frohlich to help him. Wrapping up the album is ‘Don’t Wanna Know’ where the band strut to a hard rocking blues beat that ends the album on a good note. Vocals here fit like a glove as they feel down and dirty. Griffin lets loose with some classic rock n roll guitar notes. In some ways, the comparison that comes to mind here would be Tora Tora. It ends the record each time with a favorable impression.

As I said at the beginning, the context of this album presents some challenges, and I never intended to give it a listen. That would have clearly been a mistake, and I think fans of the genre will find an album they enjoy. They have some definite bumps in the road, but I do enjoy the album overall. Production wise, it is pretty raw which helps at times but also serves to the detriment of the title track where I think some finesse and added elements would have really helped. I am not changing the * beside the name as I really don’t see them as L.A. Guns. I see them as a band of experienced musicians though who are having fun, and we get a good record in the process.

‘Renegades’ is out November 13th.

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Author: Gerald Stansbury

 

 

Zero Zeroes – ST (Drunken Sailor Records)

Zero Zeroes – ST (Drunken Sailor Records)

You get an instant high from the runaway riffarama of ‘Mouthful Of Snakes’ and in an instant the vibrant uptempo post-punk hits you square between the eyes coming on like Hot Snakes.  The guitars sound fantastic from the off and there is no relenting as ‘Dark Thoughts’ slam dances into your speakers.

This German band is definitely influenced by those Californian Rocket from the crypt boys but they have their unique DNA in this as well.

Ten tracks that never outstay their welcome and by the sounds of it weren’t labored over in the studio either which has helped maintain the live feel and the vibrancy of the recordings. There is an air of familiarity here and songs like ‘Face Up To The Mist’ sound familiar. However, its got a tonne of energy and the way the year is heading its the closest your gonna get to pogoing on the spot in front of your stereo and with the energy level you’ll require to keep up it’ll be some workout. 

‘7070s’ is a royal banger with its hypnotic screaming guitar break its a real contender and, trust me at volume sounds fantastic.  You’ll be punching the air before you’ve finished the first chorus of “7070s”.  Bands like Zero Zeroes must be chomping at the bit to get out there and blast these out in some sweaty club and I’m sure that when the time is right the gang vocal sing-along of ‘Le Fay’ will be like the best night out in an age.

There is also a healthy dose of Ramones in songs like ‘Three Foxes’ which is never a bad thing either. The floor tom gets a good seeing to on ‘Tamam Shud’.  To be fair this is an excellent album full to bursting with decent songs and another quality Drunken Sailor Record to help you through the pandemic.  What else are you going to spend your money on?  Dive in!

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Author: Dom Daley

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The DeRellas launch crowdfunder for new album

The DeRellas launch crowdfunder for new album

London Glam Punks, The DeRellas, are back with a new album “Something’s Got To Give” is gonna be a glam-punk killer album and they need your support to get it recorded.

It’s been a few years since The ‘Freak Show’ EP.  With a rejigged line up founder member Timmy DeRella has taken over vocal duties, The new album ‘Something’s Got to Give’ will be THE definitive The DeRellas album.  The songs are written, the artwork is done, the running order is decided. They’re ready to unshackle the beast and release it to the world like King Kong with a king-sized hangover.

So this is where YOU come in. So that they can get ‘Something’s Got to Give’ out to the public, They’re asking you their fantastic, fanatic, freakshow fans from all corners of the world to join the Kickstarter campaign. You can pre-order the album, buy special bundles with exclusive signed goodies, and they’ll also be giving Kickstarter supporters regular reports from DeRella world.

2020 has been a hell of a year, and they’ve have missed playing and hanging out with the fans much more than they thought possible.  You can join them in the process Here

Holy Roller Baby – ‘Frenzy’ (Self Release)

Holy Roller Baby – ‘Frenzy’ (Self Release)
Texas rockers Holy Roller Baby have overcome the pandemic and unleashed their debut Frenzy. A frenzy it is indeed. Leaning towards funkier Stormbringer era Deep Purple and rounded off with a poppy boogie rock sound, which is sadly where it loses my interest a little.
The album kicks off with single ‘Leper Blues’ leading into a medley with ‘Spread Your Love Around’. The first part I really enjoy, it’s understated with a slow groove and a little left field as promotional single. The second sitting of the first track is where the train comes off the tracks for me, sounding far too commercial and at times dare I say it….. a bit like Jamiroquai.
There are still rocking numbers to be found here and the band really showcase themselves on these choice bits. ‘Blue Devil Inn’ and ‘Run Through The Valley’ drop the funk and channel a ballsier Rival Sons esque sound.
The album was recorded here in the UK and produced by Ian Davenport whose background lies with less heavy acts such as Supergrass and Band of Skulls as well as the painfully polished debut album of the once promising Bleech.
Other stalwart tracks on offer from the record are ‘Id Vicious’ and in particular last year’s single ‘Ravings At Your Window’. Both are worth checking out online and adding to your respective playlists without disappointment.
Overall with an arsenal of material belonging in a dirty dive bar, sadly due to the overly clean production it casts doubt if it would even set through the door. There are some excellent songs here, the only thing missing is the raw grit.
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Author: Dan Kasm
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Placebo celebrate 20th anniversary of ‘Black Market Music’ with new video-series “Black Market Music Stories”

Placebo celebrate 20th anniversary of ‘Black Market Music’ with new video-series “Black Market Music Stories”

2020 rings in the 20th anniversary of Placebo’s beloved third album Black Market Music. To celebrate, the band has completed filming of a four-part video-series – “Black Market Music Stories” – which sees bassist Stef visit treasured locations and walk viewers through the writing, recording, touring, and personal stories, that would shape the conception of the album. Featuring new and archive footage, it includes interviews with the people who were key to bringing the album into the world – producers, singers and other collaborators, managers and more offer their memories of the time. Episode 1 is available to watch now below. Subscribe to the series in full HERE.

The band comments: “With our chests out, riding high on the success of our second album, we entered the studio to record Black Market Music. We were full of bravado and confidence and proceeded to create our most visceral, dark and poppy collection of songs to date.  Here’s a humble nod to its 20th birthday.”

Black Market Music came together as the band saw their notoriety swelling exponentially in the wake of breakout successes with their self-titled debut, and the follow-up Without You I’m Nothing. Reaching #6 in the Official UK Album Charts and spawning the singles “Taste in Men”, “Slave to the Wage”, “Special K” and “Black-Eyed”, it is a record that by the band’s own admission was created during the height of their “party phase”.

Black Market Music was also released into a new world, one in which mainstream chart interest was moving away from late-era grunge and instead setting its gaze on rap-rock and nu-metal, genres that the album resultingly put in its cross-hairs as it rallied against the macho – and sometimes misogynistic and homophobic – image of the scene. The introduction of hip-hop MC Justin Warfield to “Spite & Malice” was done in-part to show that the style needn’t be constantly draped in aggression.

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