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Ludichrist – ‘Immaculate Deception’ (Combat Core) & Tommy Christ Interview

Ludichrist – ‘Immaculate Deception’ (Combat Core) & Tommy Christ Interview

1986… It was a seminal year for metal with Reign in Blood, Master of Puppets, and Peace Sells all being released. I was 12 and diving deep into metal music. One night at Hastings Records in Coronado Mall in Albuquerque, I bought this album thinking it was someone else. I was extremely lucky as I likely would have completely missed this album at the time. I don’t remember seeing any reviews or hearing about the album at the time.

I did not have any hardcore or crossover albums at the time so the songs were unlike anything else in my collection. The first thing you hear is the fire truck siren introducing “fire at the firehouse.” A spoken word metal type verse leads into a brilliant hardcore part that serves as the chorus sets forth a template that is used to great effect.

There is little time to catch one’s breath as the 19 songs go by quickly with songs addressing: racism, big business, Dr. Seuss, the environment, chemical warfare, religion, nuclear war…. and having a god in your soup. This album also had one of the first blends of metal and rap (if not the first) with the brilliant “green eggs and ham.” It is straight hardcore for a little over half of its two minutes before a monster riff transitions it to a cover of “rock box” by Run DMC. I hate to imagine how many times I have played this song in the past almost 35 years.

One of the things that always set this record apart is the jazz influence. This permeates the guitar work throughout the album and even has “legal murder” start as a mellow lounge song before transitioning into warp speed.

Upon my first few listens when it was new, it was a very tough challenge to decipher a lot of the lyrics, but it became easier and easier to make out the words over the years as I never had a lyric sheet. It was not until the late 90’s or so that I was able to upgrade from cassette to CD. It is a miracle that the cassette never snapped in half. When it was reissued on CD, it came with a lyric sheet, and I was quite pleased with myself that I had so many correct.

Ludichrist’s follow up record “powertrip” was a good album, but it has never matched the debut to me. The songs had grown a little longer and the metal influence was a little more profound. Line-up changes had also occurred which continued with key members going onto start the band Scatterbrain. They had some success on college radio with a really solid album that included a totally different version of “down with the ship” from “Immaculate Deception.” Sadly, Scatterbrain emulated Ludichrist in having the debut overshadow the follow-up album and EP.

With this record, Ludichrist created an album that rests within my Top 10 or 15 of all time. It remains a go to album for me today. Part of me still remembers playing Castlevania on the NES while this provided the soundtrack.

This review is dedicated to Richard Campbell who left this world way too soon and who enjoyed this album as much as me.

Author: Gerald Stansbury

 

Q and A with Tommy Christ – A Look Back at ‘Immaculate Deception’

First off, thank you Tommy for taking some time to talk about Ludichrist. I was 12 years old when ‘Immaculate Deception’ was released, and it was like nothing else in my record collection at the time. I had got into Megadeth’s ‘Peace Sells but who’s Buying’ around the same time, but you guys were something else completely. Obviously, the hardcore scene in New York at the time was a hotbed of great bands with the likes of Agnostic Front and the Crumbsuckers just two of the great ones at the time. How did Ludichrist figure into the scene in the early days of the band?

We started out playing a couple of “Pay to Play” type shows, selling tickets to our friends, but then starting playing real gigs, opening for others at CBGB. I think we were considered hardcore, but as we changed and added guitar players, the sound started to get tinged with some metal.

How did the crowds at your shows compare to the other bands in the area?

Once we had our demo out, we got good crowds at CBGBs and eventually headlined there. We were definitely not the most popular NYHC band in the mid 80s. Cromags, Agnostic Front, and Murphy’s Law were. Our best local crowds were at Sundance on Long Island, which is where we were from. Well, technically Chuck was from Queens.

You had recorded some demos. Did you try to actively shop those to labels? Were you guys approached by multiple record labels?

We sold our demos in record stores, (in a plastic baggie with stickers!) I don’t remember if we shopped it or what. Probably record company people that would come to CBGBs got our demo, but I really don’t remember. Combat was the biggest label we dealt with. Probably some smaller ones too. I don’t remember. Profile (Cromags label) being too excited with us. Chris Williams or Williamson was never really a fan.

Combat Core seems to be something a little more unique in the 80’s as you were seemingly on a subsidiary of an independent label. What was the relationship with them like?

I liked the people we worked with a lot. Howie Abrams, Steve Martin, and the art department guy whose name escapes me, but I can picture him, and some of the PR people were great.

Before I get to one of my favorite moments in music ever, tell me a little bit about the songwriting approach at this time within the band.

Almost all of the stuff started out as either a chord progression, or a few chord progressions. I would write the lyrics (except for a few of the very early Ludichrist songs that Al wrote the lyrics for), and then I would sit down with whatever guitar player wrote the music and we’d put together an arrangement. Then we’d get together as a band and play with it a little more.

I had recently shared some YouTube links to songs from ‘Immaculate Deception,’ and they were met with a lot of appreciation. A comment that followed was if the band’s lyrics were a joke as she had looked at the song titles. I pointed out that you guys were addressing things like racism and taking care of the Earth in your lyrics as well as a variety of other topics. How did people generally react at the time as it is probably fair to say that people might not catch some of the lyrics on a cursory listen?

I guess people liked the lyrics. My favorites were the stories, because that’s what I liked to write. On the first album, “Young, White, and Well Behaved” comes to mind as a fun story. I also liked adding some humor to even the serious topics. I guess “Most People are Dicks” was, and is, the most popular line I ever wrote.

Now, being that ‘Immaculate Deception’ is one of my favorite albums of all time, I wanted to drill down a little bit into some of the songs on the album. I am not going to go in order though so let’s start with ‘Green Eggs and Ham’ which I think is one of the first metal rap songs in history with you incorporating ‘Rock Box’ by Run D.M.C. for the second half of the song. The part where that riff comes in is pure magic for me. How did you guys decide to do that, and what did the people around you guys think?

I don’t remember the details. Chuck was listening to a lot of rap then, and working at Rick Rubin’s Chung King Recording Studio, where a lot of rap was happening. Glen wrote the music to the first part of the song. I don’t know exactly how we added the Run DMC part. My guess is Chuck and Glken did it, but I honestly don’t remember.

The same year that Slayer was being met with resistance around getting ‘Reign in Blood’ pressed because of ‘Angel of Death,’ you were also singing a song addressing ‘Mengele.’ Did you receive any similar pushback for tackling what a monster he was?

No. At least not that I can remember. Slayer lyrics are quite a bit different than mine.

One of the beliefs the band had that you would come back to at times is that ‘Most People are Dicks.’ Was there one thing or several things that helped create those lyrics at the time as I know we have all felt like that at times?

I wish I could remember! It’s just a fun line…

I mentioned addressing racism earlier. The first song ‘Fire at the Firehouse’ does an awesome job lyrically of pointing out the stupidity of racism. What were you seeing around you at the time that made you want to address it?

Again, I really don’t remember. It’s like 35 years ago!

Since it was the 80’s, nuclear war was addressed as well as the effects of big business, but you also did incorporate a lot of humor in places too. I am thinking of your line in ‘God is Everywhere’ where you complain there is a god in your soup. This was an approach and balance you would take with you through the next record and then Scatterbrain. Digressing with Scatterbrain for a moment, more people probably know Scatterbrain’s version of ‘Down with the Ship’ than this version. What made you want to revisit it, especially with the way you incorporated all of the other musical nods on the Scatterbrain version?

By the time we were reworking that song, the band had changed a lot. Every player was ridiculously talented, and for Guy, Paul and Mike, theri backgrounds were not hardcore, and not even metal, so other influences creeped in. We probably just started screwing around at practice, and it stuck.

Returning back to Ludichrist, I often looked for another band that I felt really shared similar musical ground to you but really never found one as your individuality really shined. The jazz feel of ‘Legal Murder’ could stand perfectly side by side with the rage of ‘Murder Bloody Murder.’ Your vocal style would change to fit what each part of a song would need. Who were some of your vocalists you enjoyed then and now, and how did they influence your style, if they did at all?

Some of my favorite hardcore bands early on were Dead Kennedys and Discharge. I always liked singers that kind of talked too, like Lou Reed and Lux Interior. So my style kind of became a cross between talking and screaming.

The album also had several guests on ‘You Can’t Have Fun’ with the likes of Roger Miret, Eddie Sutton, John Connelly, and Chris Notaro providing backing vocals. Was that planned or something spontaneous that happened during the recording?

We were friends and in some cases labelmates. We planned it and invited them to do it.

I mentioned ‘Peace Sells’ earlier which was also produced by Randy Burns. What was it like working with him in the studio?

I don’t remember much about recording the album with him. I do remember mixing it in Los Angeles after the recording. Some of the guys thought there was too much reverb.

One last question regarding ‘Immaculate Deception,’ I think it is fair to say that the album cover represents the band perfectly with Edward Repka providing one of his iconic works here. Did the band give him a general idea of what you wanted, or did he create it without any kind of influence?

He came up with it himself, as far as I can remember.

While the focus here has been ‘Immaculate Deception,’ Ludichrist put out an excellent follow up album in ‘Powertrip.’ There were several changes internally in the band. I am one of those annoying people who always preferred the debut as it hit me at the right time and definitely carries some nostalgia with it too. ‘Powertrip’ has been one of those records though that I enjoy more and more every year. Musically, the band continued to expand with excellent musicianship, and some signs to me that made the transition to Scatterbrain a logical next step. What are your thoughts on ‘Powertrip’ today?

Some songs are really great, some not so much. The speed and changes and technical playing of those guys is amazing. For example “Johnnypump” and “Powertrip.” I don’t like some of the lyrics I wrote. Some generic stuff, and some dumb metal shit ,like “Johnnypump” and “Damage Done.” I like “Zad” a lot, musically and lyrically, and with “This Party Sucks,” you can hear what would become Scatterbrain.

Finally, I don’t think I am alone in saying that I have really missed not having more musical contributions from you over the years. Ludichrist plays the odd show every now and a great while in New York. Do we have any chance of seeing new music from you in some form in the future?

Maybe. I still write, but have been doing stuff besides lyrics. I doubt we’d ever do another album, but I could see us writing a new song or two to play live.

One of the last things I want to mention is that for all of the craziness that Facebook can create at times. I had the fortune of meeting another diehard Ludichrist fan named Richard Campbell many years ago. We would often talk about the band. This interview is dedicated in his memory.

Thanks Gerald. Rock on Richard…

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Author: Gerald Stansbury

Lucy & The Rats – ‘Got Lucky’ (Stardumb Records & Surfin’ Ki (LP) and Dirty Water Records (CD)

Lucy & The Rats – ‘Got Lucky’ (Stardumb Records & Surfin’ Ki (LP) and Dirty Water Records (CD)

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.

Buy ‘Got Lucky’ Here

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Author: Ben Hughes

 

 

 

 

 

 

 

 

The Hi-End – ‘Class Kicks’ (Rum Bar Records)

The Hi-End – ‘Class Kicks’ (Rum Bar Records)

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.

‘Class Kicks’ is available now.

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Author: Gerald Stansbury

 

 

 

Soul Asylum urge people to register to vote & give away two tracks

Soul Asylum urge people to register to vote & give away two tracks

Get the tracks on the bands website Here

TO SHOW SUPPORT FOR GEORGE FLOYD, HIS FAMILY, AND EVERYONE PEACEFULLY SEEKING JUSTICE TO BE SERVED SOUL ASYLUM ARE RELEASING FREE DOWNLOADS AND STREAMING OF THEIR SONG “BLACK AND BLUE” AS WELL AS A COVER OF “NAZI PUNKS F*CK OFF” BY THE DEAD KENNEDYS. WE HIGHLY ENCOURAGE DONATIONS TO “OFFICIAL GEORGE FLOYD MEMORIAL FUND” ON GOFUNDME, AND PLEASE SIGN THE PETITION “JUSTICE FOR GEORGE FLOYD” ON CHANGE.ORG.

tHEY ALSO ENCOURAGE EVERYONE TO REGISTER AND VOTE IN ALL ELECTIONS, ESPECIALLY LOCALLY WHERE YOU MAKE THE LARGEST IMPACT ON CHANGE IN OUR POLICE AND JUSTICE DEPARTMENTS. SYSTEMS CAN BE CHANGED THROUGH VOTING, AND IT IS IMPORTANT TO LEARN ABOUT YOUR LOCAL AND NATIONAL ELECTIONS SO YOU CAN ELECT PEOPLE WHO SHARE YOUR POINTS OF VIEW. WE MUST VOTE OUT SYSTEMIC RACISM. HTTPS://WWW.HEADCOUNT.ORG/REGISTERTOVOTE/

“LET’S ALL UNITE TO FIGHT RACISM PEACEFULLY AND INTELLIGENTLY.  NAZIS, RACISTS, WHITE SUPREMACISTS AND FASCISTS, YOU HAVE NO BUSINESS IN OUR AMAZING CITY.  TO THE REST OF YOU BEAUTIFUL PEOPLE, LOVE FROM MINNEAPOLIS, MN!”

#BLACKLIVESMATTER #JUSTICEFORFLOYD #BLACKANDBLUE

Nick Marsh – ‘Waltzing Bones’ (Bellissima Records)

Nick Marsh – ‘Waltzing Bones’ (Bellissima Records)

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!

Buy ‘Waltzing Bones’ Here

Author: Dom Daley

Rainy Days & Mondays

Rainy Days & Mondays

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.

The Boys – ‘Punk Rock Menopause’ gets Limited Marble pressing

The Boys – ‘Punk Rock Menopause’ gets Limited Marble pressing
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. 
Copies can be ordered from The Boys & Action Records
 
 “An absolute belter” – Uber Rock
 “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
Spotify: Here

The Broadway Twisters – ‘South By South West 2’ (TenGuKru Records)

The Broadway Twisters – ‘South By South West 2’ (TenGuKru Records)

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!

Buy ‘South By South West 2’ Here

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Author: Martin Chamerette

Singles Club 45RPM – summer sizzlers – June Edition

Singles Club 45RPM – summer sizzlers – June Edition

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.

Buy The single Here

 

 

 

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’ (Wanda Records) 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

Chuck Prophet – pre order for book and new album

Chuck Prophet – pre order for book and new album

“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.

Pre Order his book and new album Here