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THE MURDER CAPITAL RELEASE LIVE SESSION VIDEO OF “GREEN & BLUE”

THE MURDER CAPITAL RELEASE LIVE SESSION VIDEO OF “GREEN & BLUE”

DEBUT ALBUM “WHEN I HAVE FEARS” OUT NEXT FRIDAY, 16TH AUGUST ON HUMAN SEASON RECORDS

PRE-ORDER HERE

The Murder Capital have seen previous single releases – “Feeling Fades” and the 12″ of the aforementioned “Green & Blue” – top the vinyl charts already this year, and last month announced a series of strictly limited in-stores and intimate performances for later this month:

Mon 18th Aug – DERRY – Cool Discs @ Sandinos (afternoon show) – performance
Mon 18th Aug – BELFAST – Strange Victory Records – performance + signing
Mon 19th Aug – GLASGOW – Monorail – performance + signing
Tues 20th Aug – MANCHESTER – FOPP (afternoon show) – performance + signing
Wed 21st Aug – LEEDS – Crash – signing
Thurs 22nd Aug – LONDON – Rough Trade East (afternoon show) – performance + signing
Thurs 22nd Aug – BRIGHTON – Resident Music (evening) – performance + signing

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Tyla’s Dogs D’Amour /The Dirty Strangers – York, The Fulford Arms – 1st August 2019

Tyla’s Dogs D’Amour /The Dirty Strangers – York, The Fulford Arms – 1st August 2019

Christened as ‘A Long Weekend Of Empty Bottles’, Tyla and his Dogs announced a short run of dates celebrating the 30th anniversary of ‘A Graveyard Of Empty Bottles’ recently. Dates in York and Birmingham to be special shows previewing acoustic and electric shows that will form part of the following two nights of celebration in London.

Classed by some as the best acoustic album ever released (me included), ‘A Graveyard Of Empty Bottles’ is a timeless snapshot of the classic Dogs D’amour line up at their peak. Recorded in December 1988 over a 10 day period, the album captures the essence of a band riding on the tail end of a whirlwind year and the comedown that followed a sold out, end of the year Astoria show.

The 8 song collection of ‘soft songs for hard people’ has recently been re- recorded by the current Dogs D’amour line up, and while I initially gave it a wide birth, I have to say the new version does bring something fresh to a bunch of songs I always felt should not be tampered with. In fact, I liked it enough in the lead up to this gig, that I only went and purchased the vinyl for the collection.

 

Joining the band on this little adventure are London’s finest rock ‘n’ roll reprobates The Dirty Strangers. Still led by loveable rogue Alan Clayton, a man with more Rolling Stones connections than Mick Jagger’s heart surgeon. In fact Ronnie Wood and Keith Richards both played on their debut album back in 1987, they even roped in The Damned’s Brian James and Joe Brown along the way too.

The four-piece band play no-frills, dirty rock ‘n’ roll, just the way it should be played. The singer, dressed in a stripy top and pork pie hat, a telecaster slung over his lanky frame, leads his band through a selection of bar-room boogie rock ‘n’ roll. The raw and unadulterated twelve-bar boogie of ‘Bad Girls’, with its “woo-hoo’s” hollering and some tinkling of the ivories sounds great and the low slung rock ‘n’ roll of ‘Are You Satisfied?’ goes down a charm. The singer and bassist share a mic for vocals on several songs in full Jagger & Richards style. And it doesn’t get more rock ‘n’ roll than ‘Gold Cortina’ does it? Full of cheeky cockney charm and rock ‘n’ roll swagger, The Dirty Strangers were the perfect band to open proceedings tonight. Great stuff indeed.

 

The Fulford Arms is classed as a hometown show for Tyla and The Dogs these days. It’s intimate, it’s packed and it’s hot… very hot. The band is playing two sets tonight, one acoustic and one electric, the anticipation is high and the atmosphere is electric.

“Who gave him a mic?” says Tyla, as drummer Simon starts with the piss-taking before the singer has even picked up his acoustic guitar. The joking continues for most of the night. With the band perched on barstools they launch straight into ‘Comfort Of The Devil’ followed by the fantastic ‘I Think It’s Love Again’. With the full band treatment these versions of ‘Graveyard..’ tracks are heavier and slower, but still contain those great infectious melodies. The latter particularly benefits from the updated treatment, it’s the little nuances in the arrangements, like where the band hold the note in the chorus just that little bit longer. It sounds ace.

This band have been a unit for a good few years now, live and in the studio, and it shows. The camaraderie and ability is second to none. Tyla plays acoustic, to his right guitarist Gaz rips on a telecaster and to his left the ever cool, vampiric Matty James, all dressed in black, doesn’t even break into a sweat on bass. The guys watch their leader for cues, they play off each other to perfection.

I’ve heard a few of these songs live before, but never all of them together, what a treat to behold! ‘Saviour’ is transformed from heartfelt balladry to a more bluesy, rock ‘n’ roll groover with added tinkling of the ivories and ‘Angel’ is still the sing a long hit single that never was.

The version of ‘Bullet Proof Poet’ they pull off tonight is simply stunning. An extended, tripped out version with Gaz ripping a killer solo. A song to get lost in, it’s over in minutes, yet somehow, it feels like we’ve been lost in it for hours.

Tyla takes over on bass duties and Matty brings out the blues harp for a mesmerising, sweat-soaked blues workout. I think it was called ‘Stealin’ From The Devil’? Correct me if I’m wrong.

A couple of killer tunes from last year’s excellent return to form ‘In Vino Veritas’ album (namely ‘I Don’t Love Anyone’ and ‘Bottle Of Red’) round off set one nicely. As Gaz suggests we all go outside to cool down while the guys prepare the stage for round 2.

 

Tyla’s bottle of red is on its last legs already as he straps on that iconic road worn Gretsch and strikes out the opening chords to ‘Billy Two Rivers’, the first of a small greatest hits set. Songs to sing a long to and songs to drink to, songs that soundtrack our youth and transition into adulthood. It’s nice to see some younger dudes and dudettes in attendance, many who weren’t even born when Tyla first hit the stages with these tunes.

Classic follows classic, ‘Last Bandit’ is as amazing as ever, ‘Firework Girl enthralls and induces goosebumps and ‘How Come It Never Rains’ is the ultimate drunk and sweaty sing along it was meant to be.

By the time we get to ‘I Don’t Want You To Go’ Tyla is visibly struggling in the heat, (as we all are) and finishes the last few songs perched on an amp. The red wine has all but gone and he looks ready for a nap. But he ain’t quite done yet. ‘Satellite Kid’ rounds off the hottest, sweatiest gig of the year so far as we all sing a long and smile for the final time this evening.

 

I feel very lucky to have witnessed this band in this venue multiple times. Every gig has been different, from various album celebrations to just good, old fashioned hits shows. Sometimes I’ve been drunk, sometimes I’ve been sober, but every time it has been a blast. Like a fine red wine Tyla’s Dogs D’amour get better each time I see them, I never take it for granted and I will always come back for more. At the end of the day, it’s one of my favourite songwriters singing some of my favourite songs in my local watering hole. It doesn’t get much better than that.

 

Author: Ben Hughes

Photos courtesy of Neil Vary Gig Photography

 

 

Desolation Center Hits USA Theaters Nationwide starting Friday, September 13th

Desolation Center Hits USA Theaters Nationwide starting Friday, September 13th
Matson Films in association with Mu Productions to release the film in 50+ markets including LA

“Hundreds of punks hit the desert… The modern music festival was born. These anarchic desert happenings didn’t last long . . . but now their history is chronicled in a documentary called Desolation Center.” – The New York Times

Desolation Center, the indie music festival documentary which has played numerous film festivals worldwide, is set to begin a national theatrical rollout starting on September 13th in Los Angeles. The film is the untold story of a series of guerrilla music and art performance happenings in the 80s which inspired the birth of contemporary festival culture including Burning Man, Lollapalooza and Coachella. The film combines interviews of punk and post-punk luminaries with rare performance footage of Sonic Youth, Minutemen, Meat Puppets, Perry Farrell, Redd Kross, Einstürzende Neubauten, Survival Research Laboratories, Savage Republic and more, giving viewers unprecedented access to a time when pushing the boundaries of music, art, and performance was like an unspoken obligation. Directed by the creator and organizer of the original events, Stuart Swezey, Desolation Center tells the true story of how the risky, and at times even reckless, actions of a few outsiders were able to incite seismic cultural shifts.

The new theatrical cut of Desolation Center includes an interview with Perry Farrell of Jane’s Addiction and co-founder of Lollapalooza who was a participant in all of the Desolation Center events. The film will be having its New York City premiere as part of the Rooftop Films series with an outdoor screening in the historic Green-Wood Cemetery on Thursday, August 15th followed by a 50+ city run across North America in the following weeks.
The story of the guerrilla music and performance events of the Desolation Center is inextricably linked with the director’s own story as a young adult in the punk and post-punk music scene in the early 1980s. Desolation Center is more than just the story of a series of wild and unorthodox happenings. The film is also true to the spirit of freedom and possibility that punk and it’s clarion call of creative deconstruction embodied.
The timeless power of DIY-do-it-yourself culture is an ongoing theme in the film. Director Stuart Swezey told the New York Times, “D.I.Y. is now a shorthand for a lot of things,” he said. “But the idea that you can have a wacky idea and get a bunch of people to go along with it, and make it happen even with very limited resources – that was life-affirming.”

The film explores an almost lost subcultural story that will also be a catalyst to future generations to question assumptions and carve out new possibilities to express themselves. As Thurston Moore also described to the New York Times, the mood was “one of complete joy and wonder at being together in a place that might as well have been another planet.” He said the most radical attribute of Desolation Center was that “it asked no permission,” and he called the show “one of the great moments” in the history of Sonic Youth.
Support the cause at Desolationcenter.com

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