You would have had to have been living under a pretty big rock these past five years or so not to have heard the name Pretty Vicious mentioned in music circles. The Merthyr four-piece were hailed as the “next Oasis” by many websites/magazines and inked a silly money major label deal after what was literally just a handful of gigs.
Whilst a few of my close mates experienced that early buzz first-hand and rejoiced in seeing a local band once again looking set to make it big I deliberately stayed away purely because with a band as young as Pretty Vicious (they were all in their mid-teens when signing their initial deal) it all felt a touch too voyeuristic, and you only have to look at what subsequently happened to The Strypes to see how badly it can all go for a young band if they don’t shift the units their label wants them to.
So here we are in 2019 and now devoid of that original record deal with Virgin /EMI Pretty Vicious currently find themselves doing low key interviews to promote ‘Beauty Of Youth’ minus their singer as he has had to step away from the spotlight due to a personal tragedy that almost cost him his sanity. Their long-awaited debut is now being released through Big Machine Records a label based in Nashville that normally specialises in Country music so with all this going on this just suddenly felt like the right point in time for me to fully experience what Pretty Vicious are all about.
Granted it’s not exactly my first time hearing the band as I did dip my toe in the water with some of their early singles and whilst they were okay they didn’t exactly blow me away either, so what ‘Beauty of Youth’ is is my first chance to sit down and fully immerse myself in the band’s sound, a sound that has now had 5 whole years to develop and mature.
Well, the “next Oasis” label afforded Pretty Vicious early doors I can certainly pick up on during opener ‘These Four Walls’ and there’s more than one occasion during the album’s dozen tracks that I get the sense that the pressure must have really been on the young lads to write arena-filling tunes at all costs. ‘No One Understands’ for example certainly has that early Stereophonics Valleys lad bowl (as in strut) about it, whilst album closer ‘Little Molly’ is the anthemic lighters (or should I say phones) in the air tune that all albums of this ilk see as mandatory. BUT and this is a huge BUT its when Pretty Vicious break out of musical trappings of what is expected of them that they truly shine, in particular, singer Brad Griffiths who sounds not unlike a curious hybrid of Axl Rose and 70s Ozzy Osbourne during tracks like ‘Are You Entertained?’ and the brilliant ‘Someone Like You’. Indie music this most definitely is not folks, and the production from Dan Austin (You Me At Six, Twin Atlantic, Pulled Apart By Horses) certainly helps the boys push the attitude (and guitars) to the fore.
Elsewhere ‘Something Worthwhile’ kind of reminds me of 90s rockers Cast albeit with a turbo booster shoved up their arses, ‘Move’ has an almost Gary Holton goes grunge feel to it and the back to back pairing of ‘Force Of Nature’ (Oasis drum fill in the intro aside) and ‘Lost In Lust’ could very easily be Smashing Pumpkins at their very peak.
With all that is going on musically in the dozen songs that make up ‘Beauty Of Youth’ the future should really be looking bright for Pretty Vicious, but with Brad side-lined and dealing with his personal demons I applaud his bandmates for sticking by him as there is no way success should come before a mate’s own wellbeing. “It’s just a game” after all, as Brad sings during ‘Playing With Guns’. I just hope he gets himself sorted and that the band can then fully capitalise on this absolute stonker of a debut album. In their own time though as they still have the real beauty of youth very much on their side.
One of the best debut albums I’ve heard in quite some time happens to be ‘Out Of My Head’ it’s jam-packed with influences ranging from the good to the greats and the passion and energy poured into every groove of the LP is evident to the listener. I tapped Matt up for an interview with RPM and he was happy to oblige. If you’re lucky enough to have the band roll into a town near you I suggest you cancel whatever it is you’re doing and get down to the Rock and Roll show. But hey check em out then support them and Dead Beat Records because we need more bands like this making music on labels like that. So lets cut the crap and get down to the chatter that mattered Ladies and Gents boys and girls Matt from Poison Boys…
When did the band form and let us know a little about where you grew up and what inspired you guys to pick up an instrument and play Rock and Roll?
I grew up right outside of Chicago in Northwest Indiana, about 1 minute from the border of Illinois. Been obsessed with rock n roll since I was a kid. Me and my friend Mike Lippman had been playing in punk bands together since we were young teenagers and finally decided we wanted to start a rock n roll band. I played drums throughout those years but wanted to play guitar if it was a rnr band so started figuring out Ramones songs and went from there.
Can you remember what the first songs you wrote as a band was?
Mike and I collaborated on nearly all of the early songs, he’d write riffs or I would, and I’d write vocals and he’d help me with the lines sometimes. First ones we wrote were Been Here All Night, Out of My Head, Cut Right Out, Bad Mouth, Without You and a couple of others. Unfortunately, Mike passed away before we could complete a lot of other songs which I ended up finishing later like Headed for Disaster, Got to Tease, and Up to the Sky among others. We always wanted it to be a well rounded rock n roll group, not just one specific sound the whole record or anything. But not to stray too far outside of the rock n roll spectrum.
You’ve released a couple of singles before the album came along with the first two being on the excellent UK label no front teeth. How did that come about? How did a label out of London pick up some guys in Chicago? Is the line up stable now? your almost in Spinal Tap territory for past members already
I found out about No Front Teeth from reading a PORK magazine and either seeing an NFT ad or a record review with NFT as the label it was released on. Just emailed Marco and he was super down to help us get our first (and second) 7″ out. Really I could not find any snotty punk labels in the states at all. Even now I only know of like 2 or 3 and that’s it. And if they aren’t interested or are too busy or whatever you turn to labels elsewhere that’s all.
As for the lineup… When people don’t wanna play rock n roll anymore or move out of state what do you do? The band hasn’t been around long enough to make much of an impression with anyone lineup, hasn’t had an LP or anything out prior to now so it didn’t matter to me. Granted I don’t exactly enjoy having members flake out or whatever but it is what it is. We’ve had a pretty solid lineup for about a year and a half or so with Matt “Chainz/the Chainblaster” Chaney on drums and Steve “Stevsie/Stevie Poison” Elfinger on bass at home/guitar on the road, and touring members Nico Bones on bass and Julius Lange on guitar. It’s been pretty killer getting to know and hang with all of them.
The first single was back in 2016 then ’17 then you got White Zoo to release the last one last year. Had you already signed up to dead beat to do the album by then? How come you switched for the album?
Dead Beat came about through me asking them earlier this year if they’d be interested in releasing the LP. They were very stoked especially after hearing the record, so we just had to finish up art and final mastering for it and it was a go. The 7″s were released on the other side of the pond, we were just looking for somewhere closer to get the records released by and knew Dead Beat had put out records by some of our favorite newer rock n roll bands.
Is there a chance of a European release for the record? What about touring Europe and the UK?
We’d love for it to be released by a European label! Haven’t heard anything about that yet but time will tell I suppose. We plan to set up a European tour for hopefully next year.
As far as the album goes I was really pleased to hear plenty of influences in there and some choice covers. Obviously, I have to ask why those covers? (apart from them being great songs)
Well, I was listening to a Beatles singles comp called ‘Past Masters’ and heard a banging rocker called ‘Slow Down’. Knew it had to be a cover and found out Larry Williams was the original and sounded killer!! I figured we could pull it off and should give it a go. It delivers well live so we figured it’d be a good way to help open up the album and add more bitchin’ piano to it which we love big time. As for the Dead Boys cover… that one’s always been relatable to me and it fits with our style really well I think. It’s, of course, a tribute to them and our influences getting into punk at an early age.
I love the album and think it’s one of the best debut albums I’ve heard in an age and the attitude in the songs is superb – really authentic sounding. Is there a plan to tour then record some more? are you someone who writes all the time?
Thanks man I really appreciate it. We worked hard on these songs and it’s good to finally let them have their day. Really nice to hear that people like them. We’re leaving for our “Out of My Head” East Coast/Canada Tour 2019 this week and beginning recording for our 2nd LP this week as well. Plenty still on the horizon for the Poison Boys. I write all the time even if it’s just little pieces and put them together as I go. Show ’em to the guys and get opinions and we work em out from there.
How has the reception been at the live shows? How would you describe the scene over there in Chicago? is there much of an appetite for real rock and roll?
The live shows are killer and what we love the most. People seem to love it too and get down to our set so that’s cool. I think people need this type of rock n roll but just aren’t getting it much from bands these days. Not a lot of people go to rock n roll shows around here anymore unless it’s the Stones or KISS or something. A lot of bands around here either play washed out reverb’d out psychedelic shit or shoegaze or grunge or a mixture of all that. There’s like 3 bands in Chicago that don’t do that. As with many bands, the reception on the road is way greater than at home.
There seem to be pockets of superb music coming out of America right now – any chance you cats hooking u with bands like Wyldlife, Ravagers and The Sweet Things and stealing over here for a package tour? Are there any bands you hear about currently tickling your fancy so to speak?
We generally like touring alone but are open to whatever if the situation’s right. One of our first shows ever was in Indianapolis in 2014 opening for Wyldlife. Alex from Ravagers does a lot of our artwork and we have a gig with our boys the Sweet Things coming up at Coney Island Baby in Manhattan in a couple weeks, Friday 8/02. Yeah favorite bands going on right now in the states are mostly in California, like Black Mambas, the Crazy Squeeze, the Flytraps, Dr. Boogie (although they just broke up), and also bands like Terry and Louie, our boys Jonesy from Montreal, the Rubs, our buds Big Blood from out here, stuff like that. And of course the Sweet Things out in NY. There’s a good amount of rock n roll going on elsewhere and I think it’s growing thankfully.
Listening to the album I hear some obvious inspirations from the likes of Dead Boys, Thunders, then I hear classic Stones and Faces – you guys have some of the swagger that made early Guns N Roses shine (tear Me Apart) and I love the confidence of songs like ‘Up To The Sky’ but you can also mix it up like Hanoi Rocks on songs like ‘Desperado’ it opens up options for you to go in any direction what’s on in the van currently? What are you listening to?
We listen to old protopunk shit like Berlin Brats, Hollywood Brats, Razor Boys, Nervous Eaters, Rockpile, Flamin Groovies, Stooges, all that. A lot of Johnny Thunders and Dolls stuff of course, their solo stuff right after the Dolls broke up too. Hanoi Rocks, Dogs D’Amour. But also stuff like the Nuggets comps and other more obscure comps like the Bonehead Crunchers comps and shit like that. A ton of old punk bands like Menace, the Only Ones, Teenage Head, the Saints, Chelsea, Testors, Slaughter and the Dogs, Gen X… Then Mott the Hoople for 24 hours straight, Lou Reed, Kiss, T Rex, Motorhead, the Faces, Stones. All the goods all the time. Oh yeah and the RAMONES.
If there is anything you guys need to get off your chests here’s your chance. Anything you’d like to add?
Come see us on tour!!! Buy merch, support rock n roll and keep us on the road. If you play rock n roll start a band get a shitty van and a mechanic friend and go tour. Keep this shit alive and growing and spread the love not shit talk and hate. We’re too small of a scene to be separated all the time by trivial cool guy bullshit and life’s too short to waste energy tearing each other down. It ain’t like the old days, we all know that… Rock n roll is so unimportant to modern society and we’re all we have left. We’re all in this together. Be inclusive there’s no room for hate against each other.
New edition offers 6 pull-out posters, exclusive interviews, extensive “End Of The Road” tour photo gallery, and a completely new collectible KISS card set
With an epic 45-year career that changed music and entertainment forever, KISS will be hanging up their touring boots at the conclusion of the current multi-year “End Of The Road” tour. To celebrate their legacy, Texas-based publisher Fantasm Media has teamed up with the rock icons again to release The Official KISS Poster Book #2. For die-hard KISS fans, collectors and completists, the second issue brings the current bombastic stage show to life and celebrates their amazing past. This issue is packed with 6 giant pull-out posters featuring the current band members onstage doing what they do best, as well as classic era shots. It’s also loaded with articles, interviews, and photos covering both the current and classic incarnations of the band.
“We’re absolutely thrilled to continue working with KISS,” says Publisher/Editor-in-Chief Brian Steward. “As a lifelong KISS fan and collector, I approach creating The Official KISS Poster Book from the perspective of, ‘What would I want to see as a fan?’ That’s what’s most important.” And one thing KISS fans definitely do is collect. To meet that collector need, Fantasm Media is offering six alternate covers, each featuring different images not only on the front but also the back.
As with issue #1, this issue of The Official KISS Poster Book features exclusive interviews and a completely new collectible KISS card set. Fans also get an extensive “End Of The Road” photo gallery. Featured interviews include director Adam Rifkin on the 20th anniversary of the KISS film, Detroit Rock City; Jim Neff on how he helped orchestrate the historic 1975 appearance of KISS in Cadillac, Michigan; and David Pea on designing Sammy the Serpent and Gene’s current Demon costume.
The Official KISS Poster Book #2 and The Official KISS Poster Book #1 and the two issues of The Official KISS Magazine are available exclusively at Fantasm-Media.com. The next issue of The Official KISS Poster Book will be released later this year and will be accompanied by yet another original KISS card set.
With the new video in the can and doing the rounds, The Bar Stool Preachers are continuing their never-ending tour schedule for the brilliant ‘Grazie Governo’ and RPM highly recommends you catch them at one or more of these dates.
August 2019
1st BLACKPOOL, UK – Rebellion Festival, Winter Gardens
1st BLACKPOOL, UK – Rebellion Festival, Winter Gardens
4th COMPTON MARTIN, UK – Outcider Festival, Fernhill Farm
Bouncing Souls + The Bronx + THE BAR STOOL PREACHERS
August 2019
9th MONTREAL, QC, Canada – Foufounes Electriques
10th TORONTO, ON, Canada – Phoenix Concert Theatre
11th PITTSBURGH PA, USA – Mr. Smalls Theatre
13th CLEVELAND, OH, USA – Grog Shop
14th DETROIT, MI, USA – Saint Andrews Hall
17th CHICAGO, IL, USA – Metro
18th MINNEAPOLIS, MN, USA – Varsity Theater
19th MILWAUKEE, WI – X-Ray Arcade
THE BAR STOOL PREACHERS + The Raging Nathans
20th DAYTON, OH – Blind Bob‘s
21st LANCASTER, PA – American Bar & Grill
22nd ASBURY PARK, NJ – Asbury Park Brewery
23rd ALLSTON, MA – O‘Brien‘s
24th DOVER, NH – Brickhouse
THE BAR STOOL PREACHERS
September 2019
13th KINGSTON, UK – Fighting Cocks
14th DERBY, UK – Hairy Dog
15th MANCHESTER, UK – Star ’N Garter
16th LEEDS, UK – Brudenell Club
17th NEWCASTLE, UK – Trillians
18th GLASGOW, UK – Stereo Cafe
19th CARLISLE, UK – Brickyard
20th BLACKPOOL, UK – Waterloo Bar
21st CARDIFF, UK – Club Ifor Bach
22nd ILSON, UK – Latch Lifter (ALL AGES)
The track follows the release of recent single ‘End Of Days’, both of which feature on From Here. The album was recorded earlier this year on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment, yet has profound messages for the world we all live in and the times we are experiencing. For a taste of the music and the environment in which it was recorded, click here. The album will be released on August 23rd via earMUSIC ahead of a major UK & European tour later this year. From Here will be available as a CD Hardcover Media Book, Double 180g-Vinyl Gatefold and Digital and can be pre-ordered here: https://earmusic.lnk.to/NewModelArmy_… A Strictly Limited 2LP Splattered Vinyl-Edition, a Limited 7” Vinyl Single and various bundles will be available via an exclusive direct to consumer web shop: https://newmodelarmy.tmstor.es
It’s without a doubt KISS has become something of a worldwide rock’n’roll phenomenon. Since their initial inception in ‘73, they’ve racked up a sizeable amount of miles on the road, albums, and tours, spanning the length of the globe. I’ve been raised listening to this band and had the pleasure of watching them perform on numerous other tours over the years. This, however, seems to be the end of the road for them, hence the name of the tour I suppose… (Well supposedly… I mean look at Ozzy and Priest for example)
The evening started out not with a warm-up band, but a performance by David Garibaldi, an American painter. I have to say, it was really refreshing and different to see an opening act performing something totally different, and out-of-the-box instead of the usual warm-up band line-up. Garibaldi painted three paintings in his half-hour time slot, one of Mick Jagger, and upside-down painting of Freddie Mercury (there was a big gasp when he flipped it around, although all the Queen songs playing while he was painting it sorta gave it away…) Ahem, where was I? Oh! And finally a painting of all the KISS members. The final painting would be ‘put up’ as a prize, where concert-goers could make a donation to a children’s cancer charity. The painting would then be given at random to one lucky donor.
KISS took the stage at 21:55 with a blistering two-hour setlist. Everyone was greeted by the usual:
“ALL RIGHT BIRMINGHAM. YOU WANTED THE BEST. YOU GOT THE BEST. THE HOTTEST BAND IN THE WORLD. KISS.”
No matter how many times I hear that opening it never gets old. Whether it be on record or in person.
Detroit Rock City was first on the setlist, with the band lowering themselves down from the ceiling rafters on platforms. Alas, you’ve gotta expect the usual theatrics when it comes to Kiss shows. I’ve got to say, Paul Stanley and Gene Simmons are getting on a bit but man they still sound good. Gene especially. Paul can’t really hit the highs he could back in the day but he can still put on a damn good performance. That being said, instrumentally, they were totally flawless. I guess that’s what you get for playing your music for this long, eh? Tommy Thayer and Eric Singer returning as the Spaceman and the Catman respectively also performed to the absolute top tier.
Kiss classics old and new were on the setlist. The likes of ‘Cold Gin’, ‘God of Thunder’, ‘Deuce’, ‘Lick it Up’, ‘I Was Made for Lovin’ You’ were all present at this show. (Unfortunately so was ‘Crazy Crazy Nights’, if you like that song, more power to you but I can’t say I’m a fan sorry.) all the usual theatrics were present too. Gene spat some fire, Flew up and played a bass solo while spitting blood, the usual good stuff. Plenty of pyros and fireworks too.
The real curveball for me was Eric Singer rising from below the stage sporting a grand piano for the encore. I didn’t expect to hear Beth on this farewell tour but goddamn, I sang my heart out. Of course Rock and Roll All Nite was the grand finalé, let’s be honest you wouldn’t expect to leave a Kiss show on any other song. Looking back, all in all, it was probably the best Kiss show I’ve been too. Knowing they went out on such a high note (maybe, we’ll see) really added to the experience.
I became aware of Liza Colby through the Sweet Things where she has provided backing vocals for them in the live setting at times. It became quickly apparent that she might be an artist to watch so I started picking up some past singles and EPs that were okay but never kept me coming back for a lot of listens. Still, there has always been something there that told me I would be rewarded in time as she continued to develop her sound. I would consider this her full-length debut at a compact 8 songs that recall the albums of the ’70s, and this is the best music she has released to my ears. Her approach here should also cross over several genres as the artists that come to mind are a diverse bunch. She brings in a lot of rock, a little psychedelic, soul, blues, and other elements to carve out an album that deserves to be heard and played many times. Every year, there are albums that kind of simmer beneath the surface, and, over the course of the next few years, I realize that they are still getting played regularly. I can see this album in that role.
‘Cool Hand’ powers out of the box to start the album with a distorted bass (Alec Morton) and drums (C.P. Roth) segueing into a restrained verse where Colby sings somewhat softly and flexes her vocals with the return of the distortion. The way the music is recorded I am at times reminded of the likes of Kyuss and other desert rock bands but with a more commercial touch. The chorus here is not my favorite on the album as it can feel too repetitive. A cool drum pattern introduces ‘Creep On’ where the bass and guitar (Jay Shepard) both creep into the song. The swirling distorted guitar and bass riff are phenomenal together. The hard bluesy groove brings in another simple chorus lyrically, but this one works much better form me as it slithers in and out of the music. The guitar solo provides an air guitar option but also the ability to just close your eyes and lose yourself in the sound.
With ‘Try Me,’ the band turn up the tempo with the groove leading to some great drum fills and a great chorus. The mix here allows the entire band to be heard and comes straight from the ’70s with a jolt of adrenalin added to pick up the pace. The first half of the album comes to a close with the rocking ‘Young Girl.’ It feels like it could go off on a 10-minute jam at any time; it doesn’t hit the heights of the two previous songs but does provide a satisfying close to the first half of the album. My favorite part of the song is where everything breaks down for the bridge which gets some time to truly lull the listener closer to the speaker before kicking it back up for the finish.
Side 2 begins with the sultry blues of ‘Shake You’ which is dominated by Colby’s vocals. The inflections of the guitar provide nice texture with the eventual peak releasing into a guitar solo that is spot on the money. The crescendo then falls back for another gradual build and satisfying close. The rumbling rock of ‘Eye On You’ gives the band an aggressive song that still maintains a lot of softer touches even when Colby tells us she has “always been an Alpha.” The chorus hits some commercial heights where its huge hook and backing vocals release a steel trap on you. This has been one that has battled to be my favorite from the album.
Heading to the finale, ‘Oh Baby’ continues the hot streak with some simmering blues-rock that might be the best performance Colby has put on a recording to this point in her career. This is the one that gets the hair on the arm to stand during the verses. I love the guitar riff that comes to the surface each time the song builds in intensity. With many of the songs here exceeding five minutes, this is a great album to just get lost in when it plays. I could see the Big Brother Holding Company coming up with something like this, especially when Colby holds that last note. ‘Zero to Freakout’ provides another platform for the bass to be the dominant musical hook during the verses and sets up the burning guitar riffs. The chorus carries the song to another level and is the best on the album for me. At six minutes, this epic has several passages that make it a masterpiece, and I would hope this is also the live closer for the current live shows.
At eight songs, this could have felt lean as an album but instead really hits like the quality albums we used to get back in the day before people decided that every inch of tape on a cassette or space on a CD needed to be filled. This album does something truly remarkable in today’s day and age in that it gets stronger as it goes. I would say the back half of the album sets an incredibly high standard, and, while I don’t think the first half is as good, it still has plenty of highlights. Colby and the band have assembled an album that can appeal to a variety of crowds and musical genres. You may not get it on your first listen but the music and hooks will infiltrate your soul and compel you to play this album for a long time to come.
‘Object to Impossible Destination’ is available now.
The newie from the Southern US songwriter, storyteller and actor is a concept record broadly inspired by the horrors of the Vietnam war and its ongoing impact. Vintage rock’n’roll sound that nods to Tom Petty, The Rolling Stones, Jon Spencer Blues Explosion.
Like the soundtrack to a movie that doesn’t yet exist, Rod Melancon’s ‘Pinkville; whips up a world filled with shellshocked war veterans, gun-wielding rock & rollers, and other down-on-their-luck characters, mixing cinematic details and electric guitars into its own version of greasy, gothic Americana – Well, that’s what the PR blurb wanted us to believe and to be fair Gothic Americana is a new genre on me.
His songs are indeed dark and his voice which swings from a spoken-word to a croon to a rough-edged howl. It’s every bit as diverse as the material it delivers. ‘Pinkville’, is his fourth album. You’ve got something approaching psychedelic soul, Traditional Rolling Stones good-time rockers and tributes to the likes of Tom Petty, and if that’s not enough there is even time for a cover of Bruce Springsteen’s ’57 Channels (And Nothin’ On)’.
‘Pinkville’ draws on personal memories from back home in Louisiana. It was there, that Melancon grew up. During these visits, he’d see this guy who is the central theme for the opening spoken words track that clearly left a mark on Melancon. then to follow it up with a dark bruising number that’s part Alice Cooper part voodoo swamp rocker is a real toe-tapper.
Melancon, uses Will Walden, as the album’s lead guitarist and co-producer. The son of Emmy-winning composer Snuffy Walden, In ‘Pinkville’ his tremolo guitar rustles up images of a platoon on patrol, while the Keith Richards-inspired playing of “Westgate” draws on his teenage memories of getting stoned and just being a teen. Its got a similar feel to a lot of the work of John Cougar where he draws on his memories for his subject and sways from Americana to rock and roll and its a really well-constructed song that you just want to nestle near the speaker and let the story wash over you. The solo is pretty cool on this one as well like he’s riding the volume and trying to soothe the savage feedback and to be fair he succeeds. ‘Corpus Christi Carwash’ tells the true story of Freddy Fender’s former gig at a car wash, is all 1950s pop ballad with a great traditional progression on the muted chords, while ‘Lord Knows’ gets a groove on like it was still the 1970s.
‘Heartbreakers’ celebrates the influence of Tom Petty — a songwriter who, like Melancon, who came from the South before moving to the city of Angels. He turns his own struggles into a roadhouse rocker with ‘Manic Depression’ a little understated when up against some of the other tracks on the record but all good albums have light and shade. Then to end the record Melancon turns it up during the loud, ‘Cobra’ whilst it’s not racing away more purposeful with the part sung part spoken lyrics again its got light and shade and a decent closing number on an altogether impressive album. A real melting pot of an album to be fair and one I found myself getting lost in and enjoying revisiting it time after time. If this is Gothic Americana then I’m on board and highly recommend it. Fill yer boots, my friends, ‘Pinkville’ was a very pleasant surprise.
The critically acclaimed debut album from The Wildhearts is back in print for the first time in 26 years. Pre-order – released on 13/09/2019
Re-Released in all its glory on 180gm vinyl Earth vs sees classic albums back on vinyl to complement the Round Record releases of the more recent Wildhearts albums.
Originally released in 1993, “Earth vs The Wildhearts” is the critically acclaimed full-length debut album from The Wildhearts, fronted by the inimitable Ginger, and featuring the singles ‘TV Tan’, ‘Suckerpunch’ & ‘Greetings From Shitsville’. Hailed as Kerrang! magazine’s Album Of The Year in 1993, it was originally issued on LP, cassette and CD, with the vinyl edition soon becoming a much sought after collector’s item following its deletion. Now, for the first time in 26 years, the album is being reissued and will be available on heavyweight black vinyl.
New album – Glasto appearances – and now an interview with Ben at RPM it’s all happening for Ulysses at the moment check out this cheeky Interview on everything Ulysses.
The new album ‘On Safari’ is a bit of a monster, well-done sir! It has been getting a great response from fans and critics alike, are you surprised at all the positive feedback?
Relieved probably! I didn’t really have any expectation of how it would go down other than I knew people who already like us would have to get their heads around it as it’s a different animal than ‘Law And Order’ and I hoped they would eventually consider it as good, if not hopefully better. Every album we do is different though, we don’t write music to order, we just do what we do and if anyone whatsoever at all likes it, it’s a bonus!
I think I referenced everyone from Kiss and ELO to Supergrass and Super Furry Animals in my review. You have a lot of classic 60’s and 70’s influences going on but there’s a bit of disco and new wave going on, you seem to have branched out your sound more than ever this time?
We were listening to a lot of Tom Petty and The Heartbreakers anyway and then he died so were listening to them even more! The Cars we’ve always loved, just feeling the late 70s / turn of the 80s thing really, the English end too, Nick Lowe, Elvis Costello, Joe Jackson, etc. ‘Doctors And Nurses’ chorus popped in my head fairly fully formed, I heard it a bit more Grange Hill theme tune, we kept some of that but it also turned into a full-blown Disco smash, maybe I was listening to too much Bee Gees. I did personally stop worrying about being stuck in one or two styles and just did what I used to do which is just do whatever I want and not worry about it.
What song on the new album are you most proud of?
‘Calendar Street’ was a beast – I’m proud to have finally tamed it, I dreamed the Medieval intro and that helped finish it off. I think ‘Bad Tattoo’ is the best overall song in terms of songwriting and conciseness, although I felt uncomfortable with how ‘serious’ it was to begin with. ‘Situation Man’ is a personal victory/breakthrough, it’s a step in a different direction. We’re proud of all of them though really.
How do you approach songwriting?
Just things or a part of a song pop in my head to being with, fairly fully formed. I usually sing something into my phone or grab a guitar or piano and then figure it out and play that into my phone. Then I’ll bash out a rough demo of it where I can throw down some other ideas / parts at it. Takes a while to craft it into a final version, sometimes playing it with the band and doing a band demo of it is when it finally all comes together / Denny and Shane will put their stamp on it etc. There’s no real formula. Lyrics I find the hardest to finish, but I probably enjoy writing lyrics more these days so that’s getting easier.
Have you ever written a song, only to be told it was just a rip off of something else and then scrapped it?
Only by myself. Once when I presented a song to the band they all laughed, but then it turned out to be one of our best and most popular songs – who’s laughing now eh?
The weirdest is when you get a review saying a song sounds like a song by someone you’ve never even heard of.
Like many bands in today’s musical climate, am I right in saying Ulysses is not a full-time thing for you guys. Band members have full-time jobs and families to feed. In that respect, is touring and promoting a new album an easy thing to workaround for you?
It is difficult, but I feel we’ve got to a point where I consider us lucky – we can do the band fairly legitimately and with a degree of success but basically alongside our normal lives with families and jobs, etc – I’d say that was pretty cool really. I think there are too many models in music these days in my opinion, I don’t think you can be model for that corporate shit and be an edgy Punk musician, sorry. I blame Vice magazine, or maybe it’s not their fault, it’s just symptomatic. Music should be made by suburban weirdo outsiders, not rich kids who grew up seriously good looking.
Let’s talk about the fantastic cover art by Caitlin Mattisson. How did that come about?
We had Howlin Rain and friends in common on Instagram and I just immediately loved her work, so I sent her a message and we cut a deal. I wanted something celestial – turned out perfect! Would love to work with her again.
It looks like a page from an adult colouring book. Maybe a second pressing of the vinyl is in order, the cover on matt paper and some free crayons?
We’ve sold half of the vinyl already but alas all the money is going to into the big black hole of debt. Maybe if someone could stump up the money we could do a ‘Ulysses band members’ scratch n’ sniff version?
You recently played multiple sets at the Glastonbury festival. How was that experience?
It was great thanks, probably not as glamorous as it sounds. We played 4 of the smaller stages, so it mostly working out how were going to get our gear from one stage to another etc! It was really lovely though, great people everywhere we went pretty much – one of the best. We also met Steve Frost from The Young Ones / Who’s Line Is it Anyway etc when we played the Theatre And Circus Backstage Stage – he was a total dude.
Who was the best artist you saw that weekend?
We clashed with The Cure which was the only band I really wanted to see alas. By fate, we shared a bill on the Acoustic Stage Backstage with Marla and David Celia, a Canadian / German acoustic duo/couple, and they were fantastic. Great to hang out with too and we’ve stayed in touch, hopefully, do something with them next year. And of course our good friends Magic Bus who were the perfect hippy festival band on the Croissant Neuf stage.
You have toured and shared stages with many bands over the years, who is the nicest musician you have met?
Hmm the nicest. Well apart from the above, Marc Ford was a big hero for me, he was great, very sarcastic though. We drank a lot! Scott Holiday from Rival Sons is a pal and top guy. Richard Thompson was lovely, he had sandals and socks on too. Probably the nicest was either Bobby Conn who I’m a huge fan of (the most humble should-be-a-massive-star mega-talent around) but we fell out as I don’t like cats, or Michael Tyack from Circulus who I don’t think gets enough credit for helping bring in this current wave of Medieval and Pagan influenced culture around at the moment. Oh and also Ed Bazalgette from The Vapors who not only is a magnificent guitar player, he is also a very lovely fella.
I have to say though that as far as I can remember everyone we’ve played with or met has generally been pretty lovely company. There’s a few who have been hard work but they probably have conditions etc.
We have a really wonderful network of DIY and indie label bands that we play with and are friends with and love. I would liken it to a modern version of CBGBs – its lots of disparate and stylistically quite different bands thrown together by basically all having very limited outlets / opportunities, but appreciating each others’ talents and weirdness. That’s what the ‘Indie’ scene is these days for me.
The worst celebrity encounter though was Barry Wom when me and Shane Ulysses went to see The Rutles play in Bristol a few years ago. We went to talk to him after the show about Patto the great 70s band he was in, and he literally just completely blanked us and turned around and carried on drinking his pint with a handle. Pretty cool though.
If you could have one of your heroes guest on your next album, who would you choose and what instrument would you get them to play?
It would have to be Paul McCartney and he’d be on drums, sorry Shane. Or maybe Lindsey Buckingham on whatever he wants, if he’s feeling better.
When people think of Luke Smyth, what do they most associate you as being?
Hairy, like Jeff Lynne crossed with Marc Bolan, like a bearded Marc Bolan basically. Possibly a bit of a weird pervert? You tell me!
RPM: What was your first guitar, and what song did you first learn on it?
LS: God… Um first guitar was my older brother’s I think, and I could play along to the melody of Beatles records by ear when I was about 5, which is kind of weird now I think about it.
What do you think was the best year for music in your lifetime?
I thoroughly enjoyed 1993 and 1995, but during 1997/98 I worked in an independent record shop and there was a phenomenal amount of good albums that came out in that period, Air, Spiritualized, Super Furry Animals, Pavement, Jon Spencer Blues Explosion, Supergrass, Beck, PJ Harvey, The Make Up, Massive Attack, Primal Scream, an endless list.
If you could have a billboard anywhere in the world, where would you have it and what would it say?
In the middle of the Sahara desert, and to quote The Heads “Everyone knows we got nowhere”.
If you could go back to your 20 year old self, what 3 pieces of advice would you give?
Oh just the usual: make love to as many women as possible, travel about a bit, and stop worrying about everything so much for God’s sake. There’s definitely a few people I would advise myself to avoid.
And finally, if you could have a drink with anyone, alive or dead, who would it be and what would you drink?
If it was a man I would share a drink of Peyote and magic mushroom tea with Paul McCartney, or if it was a lady I would share some kind of bedroom enhancing beverage with Winona Ryder, or maybe late ‘70s Dolly Parton, I’m not fussy.
You would have had to have been living under a pretty big rock these past five years or so not to have heard the name Pretty Vicious mentioned in music circles. The Merthyr four-piece were hailed as the “next Oasis” by many websites/magazines and inked a silly money major label deal after what was literally just a handful of gigs.
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