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Jesse Malin – ‘Sunset Kids’ (Wicked Cool Records)

Jesse Malin – ‘Sunset Kids’ (Wicked Cool Records)

Jesse Malin’s transition from snotty frontman for NY punks D Generation to acoustic troubadour has been a natural progression over the last 15 years. The long and winding road has seen him release 7 solo albums, collaborating with the likes of Bruce Springsteen, Ryan Adams and Brian Fallon along the way.

Critically praised, yet commercially ignored (hey, aren’t all the best songwriters? Ginger,Tyla and Butch Walker, here’s looking at you!). His live shows, whether solo or with a band, can be an immersive experience full of storytelling, comedy and crowd interaction. Jesse Malin continues to tell tales of dreamers, schemers, hustlers and dealers. These are his songs about the characters from his native New York and stories about those he meets on the road.

Jesse’s latest album ‘Sunset Kids’ is a collaboration with country legend Lucinda Williams, who Malin met by chance in a club. They discussed making an album together after she invited him to Tom Petty’s final concert.  During the writing and recording Jesse lost his father, his good friend Todd Youth and even the engineer of the album Davis Bianco.

 

Opener ‘Meet Me At The End Of The World Again’ is a re-recording of the lead track from 2017’s ‘Meet Me At The End Of The World’ EP. This version benefits from Lucinda’s lush production and masterful guidance. The verse, sung in Jesse’s lower register with the addition of warm bass and a tinkling of the ivories, comes on like prime Lou Reed. It lends itself well as a great build to the infectious chorus full of lush, gang vocals. It’s a laid back, lazy sounding slice of retro rock ‘n’ roll, the kind that only a New York resident could produce. This is Jesse walking on the wildside and that’s about as rock ‘n’ roll as you can get.

Next up, the countrified ‘Room 13’ is a reflective ode to spending time in hotel rooms (Jesse has been known to book himself into hotels to write songs in isolation, with no distractions). This is prime Malin songwriting, featuring Lucinda’s lush vocal harmonies and twangy countrified guitars, the sparse instrumentation creates space and atmosphere that only adds to the laid back, signature melodies Jesse creates.

 

There’s a nice ebb and flow to the album, from the upbeat to the downbeat. Reflective, acoustic laments like ‘When You’re Young’ and ‘Revelations’ rub (leather) shoulders with funky 70’s groovers such as ‘Do You Really Wanna Know’ and the overly cool ‘Dead On’, 2 tunes that deserve to be jammed out by cool cats in smoky bars, while whores hustle and hustlers whore around them.

The upbeat ‘Chemical Heart’ has the same feel as his version of The Hold Steady’s ‘You Can Make Them Like You’ from the excellent ‘On Your Sleeve’ covers album. Nice stabs of Hammond give this song a quirky burst of energy. It’s one of the coolest on offer, along with ‘Strangers and Thieves’, co-written by Billy Joe Armstrong as part of their Rodeo Queens side project. A euphoric, countrified rock ‘n’ roll blast if ever there was one. Lucinda’s lush backing vocals add depth, great percussion and twangy guitars give a Stonesy ‘All Down The Line’ feel. A much needed dose of urgency.

Jesse’s tales of working class guys, lost love and dreaming of breaking out of the rat race have been popular themes with the guy since D Generation burst onto MTV with ‘No Way Out’, and although the production may have changed, the message is still the same. As he suggests in ‘Shining On’, you gotta keep on, keeping on. “Call me a cab for the last plane to tomorrow” he asks on ‘Promises’ and ‘Grey Skies Look So Blue’ floats along on a summer breeze as Jesse dreams about packing his bags and getting away.

 

 

When an artist goes through tumultuous times, when a songwriter experiences heartache or pain, and truly has something to write about, THAT is when they are at their best. Like much of Jesse’s solo work, ‘Sunset Kids’ is a reflective body of work, full of heartfelt tenderness and cool rock ‘n’ roll, but for whatever reason it resonates so much more than his past albums. And with the help of Lucinda Williams, he may well have made the album of his career.

Author: Ben Hughes

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UPCOMING RELEASES FROM ROGER C. REALE & RUE MORGUE INCLUDE PREVIOUSLY UNISSUED LP

UPCOMING RELEASES FROM ROGER C. REALE & RUE MORGUE INCLUDE PREVIOUSLY UNISSUED LP

FEATURING MICK RONSON AND TRACKS UNAVAILABLE FOR 40 YEARS

Roger C. Reale’s 1978/1979 group Rue Morgue featured guitarists G.E. Smith (Daryl Hall & John Oates, Bob Dylan, Saturday Night Live Band), Mick Ronson (David Bowie, Bob Dylan, Ian Hunter) and Jimmy McAllister (Mick Ronson Band, Sparks), alongside drummer Hilly Michaels (Mick Ronson Band, Sparks, Ian Hunter)

The band’s discography has been remastered from the original master tapes and is set for release on October 18 via Rave On Records

Today, Rave On Records reveals details of a comprehensive reissue campaign from Roger C. Reale and Rue Morgue, including an unreleased album featuring guitar legend Mick Ronson. During the studio group’s 1978-1979 existence, a stellar lineup of rock sidemen recorded as Rue Morgue, including guitarists G.E. Smith (Daryl Hall & John Oates, Bob Dylan, Saturday Night Live Band), Mick Ronson (David Bowie, Bob Dylan, Ian Hunter) and Jimmy McAllister (The Beckies, Mick Ronson Band, Sparks), alongside drummer Hilly Michaels (Mick Ronson Band, Sparks, Ian Hunter). Reale served as the group’s primary songwriter, vocalist, and bassist.

Roger C. Reale & Rue Morgue — The Collection CD/DL (Rave On TGP-1015)
The Collection features Roger C. Reale & Rue Morgue’s discography, with all 24 remastered tracks making their CD debut on October 18. Tracks 1-12 comprise the band’s 1978 U.S. debut album Radioactive (originally issued on indie label Big Sound), as well as an additional pair of tracks (“Close Inspection” and a cover of Fontella Bass’ 1965 Billboard #1 R&B chart topper “Rescue Me”) which appeared on the subsequent UK release of Radioactive by Decca/London Records. The band lineup features Reale (lead vocals, bass), G.E Smith (guitar), Hilly Michaels (drums, vocals), and Jimmy McAllister (guitar, track 10). Tracks 13-24 comprise the Reptiles In Motion album (details below). All 24 tracks were produced by Trod Nossel Studios owner/CEO Thomas “Doc” Cavalier and recorded and mixed by house engineer Richard Robinson. Compilation produced in 2019 by Richard Brukner.

Pre-order on Amazon
Pre-order on Bandcamp

Roger C. Reale & Rue Morgue — Reptiles In Motion LP (Rave On TGP-1014)
Recorded in 1979, the previously unreleased Reptiles In Motion was meant to be Roger C. Reale & Rue Morgue’s second album. The band includes Reale (lead vocals, bass), Mick Ronson (guitar), Jimmy McAllister (guitar, vocals), and Hilly Michaels (drums, vocals).Reptiles In Motion will be released October 18.

Pre-order on Amazon
Pre-order on Bandcamp
Note: For a limited time, orders placed for the Reptiles In Motion vinyl LP on Bandcamp will include an original, sealed 1978 copy of the U.S. pressing of the Radioactive LP.

Heavy Pettin’ announce tour dates and Festival appearances

Heavy Pettin’ announce tour dates and Festival appearances

They’ll be dancing in the streets of Llanharan with the news that Glasgow rockers HEAVY PETTIN‘ return for the second leg of their ‘Back On The Road Part II‘ tour and a festival appearance at Golden Age Rock Festival in Belgium for August and September.

 

Back On The Road Part II – Tour dates:

Aug 22 – Eleven, Stoke, England
Aug 23 – Camden Underworld, London, England
Aug 25 – Golden Age Rock Festival, Liege, Belgium
Aug 30 – Crauford Arms Music Venue, Milton Keynes, England
Aug 31 – The Tivoli, Buckley, North Wales  w/ Rock Godess
Sep 01 – The Exchange Bristol, England w/ Rock Godess
Sep 04 – Rescue Rooms, Nottingham, England w/ Rock Godess
Sep 05 – The Waterloo Music Bar, Blackpool, England w/ Rock Godess
Sep 06 – Oran Mor, Glasgow, Scotland w/ Rock Godess
Sep 07 – Yardbirds Rock Club, Grimsby, England w/ Rock Godess
Sep 08 – The Robin 2, Bilston, England   w/ Rock Godess
Feb 08-13, 2020 – MORC X, ‘Monsters of Rock Crusie‘ Florida, Belize & Mexico

Stardom beckoned for Heavy Pettin‘ back in the early 80’s with arena tours supporting Kiss, Ozzy and Mötley Crüe and along with the help of MTV, the band scored a couple of Stateside hits.

In 2017, original members Hamie, Punky, and Gordon joined by Jez Parry on bass and Michael Ivory on drums performed for the first time in 25 years. Reinvigorated, HEAVY PETTIN‘ , joined by ex-Gun guitarist Dave Aitken due to Punky hanging up his guitar and going in to retirement, did several shows in 2018 and 2019.

 

According to Hamie, fans should look for a bit of 4PLAY “…the demand and support for new HEAVY PETTIN‘ material has been so overwhelming, we are excited to say we’re now working on brand new HEAVY PETTIN‘ material which will be released in 2019… and it’s going great!”

Facebook: @heavypettinofficial
Twitter: @Heavy_Pettin
Instagram: @heavypettinofficial
Get your Heavy Pettin’ Merchandise Here: https://heavypettinofficialmercandise.bigcartel.com

Sore Points – Not Alright (Slovenly Records)

Sore Points – Not Alright (Slovenly Records)

Canada continues to churn out the finest in punk rock anywhere on the globe (sorry flat earthers) Blink and you might miss this one as Slovenly knock out four tunes in just over five minutes pressed onto wax. Its Sore Points first release on Slovenly and the Vancouver punks aren’t hanging around here folks this is like blunt trauma frenzy punk attack.  First up is the fuzz fest of ‘Not Alright’ – to the point its like an audio punch in the face and before you can gather your composure were into ‘On The Wire’ and Sore Points are like a frantic frenzied loon just rabbit punching the listener round the ears.

Pause, deep breath and flip this bad boy over as ‘One More thing’ is up with its rolling riff but they have saved the best till last with the brutal ‘Not Coming Back’ which just slays with its rough riff-a-rama. it’s brief, it’s brutal but its good and Slovenly don’t do bad records and to get on a label like this you have to deliver so its a no brainer, buy Sore Points end of.  A long player should be the next target and the sooner the better.  CEO of Slovenly please make this happen thank you kindly RPM

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Author: Dom Daley

Steelhouse Festival – Hafod – Y – Dafal – Ebbw Vale (26 Jul 2019 – 28 Jul 2019)

Steelhouse Festival – Hafod – Y – Dafal – Ebbw Vale (26 Jul 2019 – 28 Jul 2019)

Steelhouse Festival is the annual Welsh Classic Rock Festival situated on top of a mountain in Ebbw Vale, which now in its ninth year, is a little gem of a festival which slowly grows year on year despite its reputation for being generally a bit on the damp side. 

After the particularly wet event last year I was half expecting to see a smaller attendance, but no, still people turned up in their thousands and that is down to the repeatedly great line ups and the sheer friendliness and affordability of this festival, I mean, what other festivals can you go to and get 4 pints for a mere £15! 

Those in attendance were not only rewarded with a whole weekend of glorious weather, but with some great performances across the weekend from both the old stagers and the up and coming bands.

Friday nights entertainment started off with solid sets from both Blackwater Conspiracy (6/10) and The Rising Souls (7/10), but it was local boys Those Damn Crowes (8/10), who despite not being my thing, were the first band to really win over the whole crowd and put in a great performance. 

However Massive Wagons (9/10) a band I have previously described as “sloppy pub rock” took the honours of the day in style. The energy from the stage took the crowd to the next level and sporadic Dad dancing was seen all over the top of the mountain especially as they kicked out the Rick Parfitt tribute ‘Back to the Stack’ and the fantastic set closer of Slade’s ‘Come Feel the Noise’, which saw all the other bands join them for a triumphant sing along. A great way to end day one.

Day two openers Liberty Lies (6/10) didn’t do much for me musically, but it has to said that frontman Shaun Richards is not only a great singer, but also knows how to keep the crowd engaged which some funny in between-song banter. Ryder’s Creed (8/10) however were on a completely different level and looked like 5 guys who had been force-fed Red Bull and Haribo all morning before being unleashed onto the stage. Great catchy tunes and the sheer enjoyment on the band’s faces was just contagious. 

Unfortunately, Hollowstar (5/10) couldn’t follow that, and despite being perfectly competent and getting a good reception from the rest of the crowd sent me to the bar, which is where I stayed for a while causing me to, unfortunately, miss The Wild who I did hear good things about. 

Crobot (9/10) were one of my must-watch bands of the weekend after picking up a copy of their Something Supernatural album 5 years ago and they didn’t disappoint. Kicking off with Legend of the Spaceborn Killer, frontman Brandon Yeagley took to the stage looking like some crazy merman and he didn’t let up for the whole gig, completely owning the stage and in fact the mountain. Tight, heavy, big riffs and catchy choruses, job done! 

After that, I found Gun (8/10) a bit strange. To watch they were a bit dull, but the sheer strength of their songs made their performance work and work well. Watching people drunker than I sing along joyously to the likes of ‘Steel your Fire’, ‘Better Days’ and ‘Taking on the World’ really made me want to go home and dig out those albums again. 

The Temperance Movement (9/10) were my band of the day and had me throwing some hideously drunken shapes from the minute they walked on until the minute they walked off. The standard of musicianship was second to none as they drifted from epic strutting singalongs like ‘Only Friend’ to the stunning Deeper Cut which completely sent shivers up my spine. After that performance, I wouldn’t expect it to be long to see them return as a headliner. 

Thunder (8/10) don’t do bad gigs, and though they didn’t deliver the best gig I have seen them play, still had the crowd eating out the palms of their hands and singing along word for word from the minute they kicked off with ‘Loser’ to the minute they finished with a song I can’t remember due to a long days drinking and enjoying myself! 

The final day was opened up by fellow Cornishmen Willie and the Bandits (8/10) who I felt sorry for as they didn’t get the crowd they deserved due to issues getting into the arena with bag searches. Their laid back Bluesy Rock was the perfect start to the day and was a performance worth far better than their lowly spot on the bill. Sadly the good start to the day came crashing down to earth with The Amorettes (3/10) who frankly looked and sounded like two average bands had been stuck together with cheap sellotape to make one below average band. 

Completely the opposite of that were Tax the Heat (8/10) who returned to the mountain with another great display of slick, stylish rock and roll. Scott Gorham loves this band for a reason, even if he had to berate them for driving too slowly up the mountain! 

The charismatic Mango Kid himself Mr Danko Jones (8/10) brings a blistering set of balls-out garage rock and certainly wins over a legion of new fans. As an old fan, my only complaint was that he missed the golden opportunity to play the track Mountain which would have been perfect for the occasion.

Band of the weekend? Well, that goes to Uriah Heep (10/10) who provided a set of absolute perfection. The sound, the musicianship, Bernie Shaw’s timeless vocals, and Mick Box’s huge smile completely stole the show. How a band soon to be moving into their 50th year can still play gigs sounding this fresh and exciting is beyond me. Happy Daze indeed! 

At one point Corey Glover of Living Colour (8/10) said “who’s idea was it for us to follow Uriah Heep?” and that was the only problem with their set. While perhaps a band that didn’t quite fit in and draw the crowd that the Heep did, Living Colour came on and played superbly for those prepared to listen to them, and bringing out the festival legend Bernie Marsden for a cover of Cream’s ‘Sunshine Of Your Love’ was a masterstroke. 

Closing the whole weekend was then left for Thin Lizzy (9/10) who were celebrating the 40th anniversary of the legendary ‘Black Rose’ album by playing it in its entirety. I was a little sceptical in advance but I have to say Thin Lizzy absolutely smashed it. This was in no small part to a rhythm section made up Mastodon’s Troy Sanders and Judas Priests Scott Travis, who were one of the most impressive I have heard in many years, but for me the star of the show was Mr. Ricky Warwick, who has gone and proved himself time and again to be someone who not only sings the songs of the late great Phil Lynott with style but who almost makes you think that perhaps he was the man who wrote and sang them first time around. No disrespect is meant it that comment, but Ricky Warwick does the job perfectly with the utmost respect and deserves that respect right back. 

With a closing ‘Whiskey in the Jar’ finished off with a great fireworks display Thin Lizzy were the perfect end to an amazing weekend, the only problem now is how are Steelhouse going to top that for their 10th Anniversary?! 

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Author: Nigel Taylor

Rainy Days & Mondays

Rainy Days & Mondays

Its Monday already and a bunch of brand new videos have landed on the RPM doormat so here goes pop pickers check these out –

First up is Empyre and a track off their new album – ‘Stone’

If that  didn’t tickle your fancy then have sensory overload with this brand new video from these Scumbag Millionaires

Finally how about some Allman Betts Band Rock and Roll with their ‘Shinin’ Video

CR Dicks – Dick Moves (Black Gladiator / Slovenly)

CR Dicks – Dick Moves (Black Gladiator / Slovenly)

Andy Caffrey is the man behind CR Dicks and thats good enough for me, That and being on Slovenly is an endorsement in itself.  I haven’t got a clue about the name either and its probably best not to ask.

What does the record sound like I hear you howling at the screen? Well, its a fucked up fuzzy slice of walking on the Wildside it’s got hip hop fuzzed-out blues distortion of some description (‘What Kind’) the vocals are howled through a tunnel by the sound of it as are the sporadic and chaotic backing vocals and there’s crazy sax honkin (played by none other than Pete Balestrieri, ex-VIOLENT FEMMES) and some slick and sick funky bass slapping its way through these choppy waters. It just works and you need to trust me on this.  Turn it up then when it gets uncomfortable turn it up a little more – that’s the fella. 

 

‘Tweaker Of The House’ is something Beck was able to write many moons ago but not as street and dangerous sounding as this. Imagine a noisy garage-punk – hip-hop hybrid with just enough dirty Beastie Boys meets Jon Spenser. Sounds interesting, right? of course, it’s intimidating but “Dick Moves” isn’t sweetness and light it’s not Coldplay nor safe like Noels High Flying Birds this is cutting edge and music to fuck you up. It’s demented  ‘Therythmethod’ will fuck you up if the volume is right. It’s not helped much when the lo-fi of ‘Red Moped’ enters the fray with its Suicide-lite drum machine beats and hushed vocals but wait it’s destroyed when ‘Skate To Die’ explodes through the speakers all thrashing distorted guitars and fucked up vocals burst through the speakers. 

Its probably for the best that ‘Black Girlfriend’ is the final track such is the sonic assault taking place but for the next three minutes you’re taken on a garage rock road trip of the finest kind.  What a scorcher to end up on its discord juddering rhythm is the perfect way to sign off.  I guess we’ll see Andy in about another ten years when he’s got enough for another journey through the darker side of Rock and Roll for us, but we’ll all sign up for the trip thought right? Fuckin’ right we will! my bag is already packed for the ride.

 

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Author: Dom Daley

 

 

 

Living Colour/Wayward Sons/Jared James Nichols – Leeds, Brudenell Social Club – 25th July 2019

Living Colour/Wayward Sons/Jared James Nichols – Leeds, Brudenell Social Club – 25th July 2019

It’s the hottest day on record here in the UK and everyone is melting. The last thing I really want to do is spend the evening in a packed club that is notoriously hot, even in winter. But Living Colour are celebrating 30 years of ‘Vivid’ by playing their debut  album top to bottom, and it’s not too often they come to town. So I’m happy to brave the heat and continue to sweat. Hey, its rock ‘n’ roll kids, and I wouldn’t want it any other way!

First up on a 3 band bill we have Wisconsin blues merchant Jared James Nichols. This dude gives me serious hair envy! He looks like John Sykes circa 1988 and plays a black Les Paul like a bluesier Zakk Wylde. In fact, his 3 piece band come across like Wylde’s short lived Pride & Glory project, albeit a blues heavy version. Even heavily tattooed bassist Elvis has double denim, a trucker cap and probably smells of engine oil!

Jared’s unusual playing style sets him apart from his contemporaries. He doesn’t use a pick and yet creates a helluva tone. His voice hits the spot too, it’s raw, bluesy and downright righteous! His rhythm section are solid, and songwise they seem to come from a 70’s classic rock direction. A very British sound, I’m talking early Whitesnake meets Bad Company here.

He’s very appreciative of the turnout and the fact that he’s going down well with a crowd who are largely unfamiliar with his material. Great opening set from a rising star.

 

Now, we all love a bit of Toby Jepson, right? Whether it be Little Angels, fronting Gun or behind the desk producing the likes of Virginmarys. But right now Toby is doing what he loves best and what we love seeing him do, and that’s strapping on a guitar and fronting a new and exciting rock ‘n’ roll band.

Wayward Sons are on the verge of releasing their sophomore second album, and I say ‘sophomore’ without even hearing it, as the tracks played tonight stand tall above their collective output so far to these ears. I like Wayward Sons, they are a solid, traditional rock ‘n’ roll band and live they just get better every time I see them.

Toby is as always an engaging frontman who has the ability to whip up a crowd with ease, he should do, he’s been doing it for over 30 years! With a flying V strapped over his shoulder, he leads his band through a high energy set consisting of road worn tracks from their debut album and a few newbies thrown in for good measure. The likes of opener ‘Alive’ and ‘Ghost’ are early crowd-pleasers that go down a storm.

The title track of their upcoming album ‘The Truth Ain’t What It Used To Be’ is played and sounds very promising, as does brand new single ‘Joke’s On You’. The politically charged, socially aware lyrics make them a band to pay attention to in more ways than one right now.

Backed by a tight unit; guitarist Sam Wood, bassist Nic Wastell, drummer Phil Martini and keyboard player Dave Kemp, Toby Jepson has a tight band behind him that have the energy and the vitality to take them to bigger stages worldwide.

The band play a blinder and win over the Living Colour massive with ease, in fact, I have a suspicion many were here for Wayward Sons as much as Living Colour. Wayward Sons evoke the sound of both ’70s and 80’s rock but still retain a modern edge. To me, they come on like UFO meets Thin Lizzy, although I might be swayed by Nic’s Pete Way stage moves and Sam’s Scott Gorham looks.

We all sweat profusely and the band gives it their all. Toby jokes he’s knackered and Nic has more energy a man of his age should possess. They suffer sound problems and we lose Sam’s guitar for the last few songs, but it doesn’t matter one iota, Wayward Sons triumphed tonight. A band with a growing following and a reputation for great live shows. Expect headline status from now on.

Living Colour has always been one of those bucket list bands I needed to see live and up until a couple of years ago, I thought it would never happen. Yet, I finally did see them play and at my favourite venue too! Now they return to The Brudenall again. It’s not too often a band of this stature plays a club-sized venue and this is a must-see gig for me.

Interestingly, the themes of racism and discrimination that Living Colour blasted out on MTV three decades ago are still prevalent today, if not more so. While ‘Vivid’ was Living Colour’s most successful album, it was not ‘my’ album, that was ‘Stain’, constantly drummed into me by my Living Colour mad brother when it was released.  Surprisingly tonight they open with ‘Ignorance Is Bliss’ from that very same album.

As you would expect, the band are as tight as ever. The rhythm section of Will Calhoun and Doug Wimbish are one of the best in the business, the mental guitar histrionics of Vernon Reid are a joy to behold and then we have frontman Corey Glover. One of the most underrated voices in rock ‘n’ roll, a man whose vocals are still as good as they were back in the day.

The aforementioned opener sounds great, the chugging riff, the brooding, yet funky bass and those killer vocals sound fantastic. Nice opener! Corey thanks the appreciative crowd and lets those who don’t already know that tonight is a celebration of an album that came out 30 years ago and they would be playing it in its entirety. As he says, playing a lot of songs they haven’t played in years, but have been playing a lot lately. A great roar of appreciation follows as the intro tape introduces ‘Cult Of Personality’. Their biggest hit is 30 years old and sounds as fresh now as it did back then. We may all be dripping with sweat, but the band is only just warming up. Shit, Corey still has his jacket on for chrissakes!

‘I Wanna Know’ sounds ace, one of my favourite songs off this album actually, great to hear it live. ‘Middleman’ is a masterclass, played with ease as we sing along to the refrain, and the early Chili Peppers feel of ‘Funny Vibe’ just comes across so well live. Hearing these songs, and in order, takes me back to a certain time, it’s a proper nostalgia trip.

For me, the focal point of tonight’s show is bassist Doug Wimbish. Up there with the likes of Billy Sheehan, he has to be one of the best in the business and a cool cat to boot. Some sort of funky bass witch doctor, he conjures up mental, other-worldly noises from his instrument using a combination of pedals and actual magic!

It has to be said the sound tonight is not the best, there is even heckling to get Vernon’s guitar turned up, and while the singer and guitarist make a joke of it, the bassist visibly just wants to get on with the show. Even taking to the mic to say this is a live show, four guys with instruments… it is what it is.

Some of the notes Corey hits are outstanding tonight, as he holds the mic away from him and sings stretching to the limits of his range with ease, you realise he is up there with the likes of Ty Taylor as one of the greatest living soulful vocalists in rock ‘n’ roll right now. Amazing stuff.

‘Open Letter (To A Landlord)’ sounds fantastic and ‘Broken Hearts’ takes things down, full of sentiment and feels. I wonder if they are ever tired of playing a song like ‘Glamour Boys’? It sounds great, although I’m a bit disappointed it wasn’t the calypso version they did last time they played here. They funk things up nicely with the Prince-like ‘What’s Your Favorite Color?’, a personal highlight of the show that hasn’t dated, I fact I think it just improved with age.

Glover and Reid’s onstage banter is great. The pair take the piss out of each other constantly, with Reid leading a “Corey-Corey’ chant to a band mate he calls “the most stylish man in the building”.

No bass solo tonight (thank god!) and for the encore tonight we get an emotive ‘Love Rears Its Ugly Head’ and a killer ‘Elvis Is Dead/Hound Dog’ extended jam out.

 

The trend of bands playing albums in their entirety is sometimes met with caution. Knowing the setlist beforehand can take away from the expectation or the element of surprise of a live gig, yet other times it works and can just floor you. Tonight was the latter. Also, the growing trend of established, big bands playing intimate venues is alright by me any day of the week (especially in this venue).

Living Colour delivered a masterclass of funk rock tonight. While the sound guy needed slapping (the levels were all over the place) it did not detract from a most excellent set. All three bands were outstanding tonight and all different in their own way. From young guns playing the blues to someone old doing something new, to the established being steeped in nostalgia, it was a top night all round.

 

Author: Ben Hughes

 

Press Club – Wasted Energy (Hassle Records)

Press Club – Wasted Energy (Hassle Records)

Hailing from Melbourne Australia Press Club is really working the hard yards and slogging it out on the world tour circuit working hard crafting their place in the scene. With Natalie Foster leaving the stage on empty night after night ably supported by Greg Rietwyk, Frank Lees and Rufio MacRae; Press Club are giving it their best shot with ‘Wasted Energy’ and those hours spent in the van and on stages everywhere are spilled into every groove and track on the album.  It seems like only a couple of months ago they were out supporting their debut album and already they’re onto album number two.  Good work ethic guys tour, write, record.  Its the evolution circle of rock and roll as it used to be.

 

There’s no easing in gently here its bang – on with the show. ‘Separate Houses’ is up and running.  It’s setting the tempo for what’s to come there’s no time like now and no time for fucking about waiting. ‘Dead Or Dying’ is sharp and rattles along with a cool bass line that punches through the melody on the verses as the sprightly tempo raises like Foster’s voice.

‘Thinking About You’ is a more melodic tune. you still have the tightness but the guitar is more chiming and its no surprise to see it as the lead single off the record as its easily accessible to a wider audience. In direct contrast ‘Chosen Ones’ is the other end of the spectrum and is a far more uptempo number.  To be fair it’s pretty much the band’s default sound and style but that’s not to say they lack variety because they don’t at times I’m reminded of bands like Joy Division with some of the cold sharp angular guitar attack and then on songs like ‘Get Better’ they just get their heads down and rock out and the album really soars when they hit that groove.

They can also just kick out the jams like on ‘New Year’s Eve’  where the rhythm section gets the job done with aplomb. As the album wears on the penultimate track is the thoughtful ‘Same Mistakes’ which starts off gently and builds towards the chorus (of Sorts) and is one of the standout tracks on a pretty impressive album.  Press Club are working hard on their chosen craft and it’s paying dividends in the studio because ‘Wasted Energy’ is a strong outing and one that will see the band reap the rewards.

 

 

Buy Wasted Energy Here

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Author: Dom Daley