I don’t know about you, but it’s rare for me to hear an album once and immediately think, ‘I have got to order this NOW’. But, thankfully, life occasionally throws these things our way, and having seen that Hunt Sales was about to release his, essentially, debut solo album, I figured it was worth checking out on the bedevilled Spotify to see just what it sounded like.
Now, it’s easy to get overexcited about anything that has links to Bowie, naturally enough. And, perhaps, expectations weren’t high, given Hunt’s tumultuous past. He’s been clean for a year and wears his past without shame. The man has lived. And, he’s responsible for THAT drumbeat. You know the one.
After one listen, I ordered the cd. Then, I kept on listening. I was right the first time. Twelve new songs, with Hunt, apparently playing all instruments; including some mean saxophone (I don’t have full details/‘guest’ players at present). All you need to know is that this is an album that really covers all the bases of Hunt’s varied career. Classic era Iggy? Check; ‘Here I Go Again’/‘Magik’. Jazzy, skanking numbers? Check; ‘Angel Of Darkness’/‘Sorry Baby’. Dirty, grinding riffs? Check; ‘I Can’t Stop’/‘Bitch Done Left’.
First single ‘One Day’ is a reflective, Cash-style tune. I loved his vocals in the much-maligned Tin Machine, especially ‘Stateside’, and they’ve matured. There’s real emotion here. Even in the one-line rant of ‘It Ain’t Easy’. Sales says he’s been practising every day, and you can tell. Rough edges, but rhythmically tight, as you’d expect. Somehow, the presence of saxophones on many tracks threads it all back to Mr B, though Hunt’s roots are also in jazz. Yes, folks, against the odds, Hunt Sales has indeed got his shit together. Something to celebrate.
Monday. Raining get out of bed grab a shower and think about leaving the house… take these videos with you when you do they’ll make the journey 100% more enjoyable. First up The Spangles. ‘Growing Up’ is taken off their reet smart new debut long player available Here
Next up is a golden oldie from New Yorks Star Spangles and the missing link between the Dolls and The Replacements –
To cap this lot off how about this bad boy from Grindhouse now settle down ladies (and Gentlemen) this’ll get your working week off to a blinder.
A new documentary on legendary DEAD BOYS frontman STIV BATORS is to get its UK premiere next month.
Born 70 years ago, the charismatic singer was the original embodiment of the self-destructive punk frontman with Cleveland, Ohio’s DEAD BOYS before embarking on a solo career. He went on to team up with members of SHAM 69 in THE WANDERERS. His greatest success came in the mid-80s with THE LORDS OF THE NEW CHURCH alongside The Damned founder Brian James, Dave Tregunna from Sham 69 and ex-Barracudas drummer Nicky Turner.
The succinctly-titled Stiv, which features heaps of rare and unseen footage, as well as new interviews with all the major players in the singer’s life, is to receive its UK premiere on 24 March at the Regent Street Cinema, London as part of the Soundscreen Festival, presented in conjunction with Vive Le Rock! The screening will be followed by a Q&A with the film’s director Danny Garcia.
Now you know we love nothing more than championing bands that we love and there aren’t many bands we love more than the Hip Priests Shit – Islands very own Garage Rock N Fuckin’ Roll darlings. Unless you’ve been dwelling under a rock or sat with your head up a UKIPers arse you’ll know they have a brand new album on the way (Stand For Nothing). We love it and we wouldn’t be doing our job if we didn’t let you in on the pre-orders so here goes –
The new Magnum Opus (Hopeless?) goes LIVE this morning 10 am in advance of the official release date of March 11th! Here’s the first track off the album in video form, ‘Welcome To Shit Island’ has some fine lyrics and is just a brief taster of whats to come. You know what to do folks!
From the dark heart of Yorkshire, this is Snakerattlers’ second album, and I admit that this is my first encounter with their music. The duo are husband and wife, Dan and Naomi Gott, guitar/vocals and drums/vocals, and, unlike some other duos, they have the tunes to ensure that they are no novelty act. Yes, there are elements of The Cramps here and there; ‘Do The Rattle Rock’ and ‘Rattle Rock Stomp’. But, their approach has more in common with Dan Sartain; see ‘I’ll Destroy Your Soul’. ‘She’s Strange’ sways, makes your hips shake. In fact, you could dance to the whole album, should you feel inclined.
They certainly have too much class to be tagged as psychobilly, in my opinion; a lazy description. ‘Standing On My Own’ is worthy of any Tarantino soundtrack, while ‘Ooga Booga’ does pretty much what it says. ‘Wild’ is a fitting end and makes me want to see them in a sweaty club sometime soon; their natural environment. But this is also a fine addition to your album collection. They know how to roll.
We all remember a time when hard rockin’ guys walked the earth and MTV was happy to have programmes dedicated to genres of rock outside of Led Zep or AC/DC and then Grunge was alleged to have almost made a whole scene extinct apart from a few outposts that kept the faith well, 2019 and some of those people who remained true to their roots have come crawling out of the ashes of the past and are once again proud to drape a scarf over their mic stand and wear their attire like they were born to rock rather than some work clothes and sneakers like they’ve just walked in from working on their car. Babylon Shakes are one of those bands – no not work clothes and oily clothes but a band who remember when Tyler and Perry rocked or when Faster Pussycat had the strut on Sunset Blvd.
Without a hint of irony, ‘Exile To The Velveteen Lounge’ can and will be compared to that Debut Faster Pussycat album or pre MTV Aerosmith because that’s where they are coming from or strutting from. Take the second song ‘Sunset Striptease’ its certainly got that sleazy Joe Perry riff happening and the song is a rollicking good time and the fact they are happy to hit that cowbell like its going out of fashion is marvellous. It’s sleazy, loud and a bloody good time and it keeps it rock n rolling and not falling into that cheesy metal field. I think the fact they are wearing their influences on their sleeves and its stretching back into the ’70s for inspiration rather than the 80’s makes this record authentic and above all the songs whilst often have cliched lyrics are pretty decent.
The production is big but it’s not Bon Jovi big and they keep it real without the temptation to add studio trickery or lush keyboards ‘No Pictures Please’ could be The Sweet and it’s impossible not to reference classic Faster Pussycat on songs like ‘Velveteen Liberteen’ and possibly add to that a hint of the Dogs D’Amour swagger.
Similar themes crop up throughout the rest of this album and they don’t stray from their tried and tested comfort zone and there’s nothing wrong with that being a loud sleazy Rock ‘n’ Roll band is alright with us and I thought I’d got away without there being the big soft ballad but then ‘Star In Your Eye’ crawled out of the speakers like it’s 7 am and they’ve just got in. It’s a decent arrangement but I’m not convinced it was needed but hey that’s one opinion.
Leaving just ‘Motel Lights’ to rock this bad boy home and with a great rumbling bass line, it certainly does that. I like Babylon Shakes and this album is a very decent affair now if they along with label mates the Prophets Of Addiction can kickstart more bands to follow suit then we might be in for a resurgence of a genre people said was gone forever but we know better folks and on this evidence so do Babylon Kicks. Good Work fellas good work!
On this day in 1979 Simon John Ritchie otherwise known as Sid Vicious passed away On the evening of 1 February 1979, a small group of friends, including Jerry Only and Howie Pyro, gathered to celebrate Vicious having made bail at a friend’s Manhattan apartment.
Sid was clean, having been on a methadone program during his time at Rikers Island, but at the dinner gathering, photographer Peter Kodick, deliver him heroin. He had apparently spent hours during the party looking toward the future, planning an album he would record to get his life and career back on track should he be acquitted. Sid played Max’s along with a stellar line up including Mick Jones, Steve Dior, Matlock (who he replaced in the Pistols) Jerry Nolan to name a few who he played with or made plans to help him record this solo album he had planned. Sadly none of those pans would come to fruition as Sid overdosed at midnight, but everyone present worked together to get him up and walking around to revive him. Sid died in the night and was discovered dead by his mother, Anne Beverley, early the next morning. Aged just 21. still to this day its such a sad story to tell and a waste. RIP Sid.
Sid Vicious died of a heroin overdose in New York City. There had been a party to celebrate Vicious’ release on $50,000 (£29,412) bail pending his trial for the murder of his former girlfriend, Nancy Spungen, the previous October. Party guests, said that Vicious had taken heroin at midnight. An autopsy confirmed that Vicious died from an accumulation of fluid in the lungs that was consistent with heroin overdose. A syringe, spoon and heroin residue were discovered near the body.
The Specials were at No.1 on the UK singles chart with ‘The Special A.K.A. Live E.P’. The lead track ‘Too Much Too Young’ was the shortest song to reach No.1 on the UK singles chart in the 1980s that also happened on this very day in 1980.
On this very day in 1978 Van Halen signed a record deal with Warner Brothers. Seems as good a time as any to play this then…
Oh and it was on February 2nd 1949 that the first ever 45 RPM record was released. How about that for a fact?
It’s been 5 long years since The Hip Priests’ last studio album, but as some wise old sage once said “good things to those who hate”.
During that time events have certainly seen the UK become a more divisive place to live and as such ‘Stand For Nothing’ has never felt like a more perfectly timed record. It’s one the band said they’d never release but now felt compelled to, plus it’s also one that contains not a single song about the old in out … a true first in Priests terms.
But wait just a minute, because I’m getting ahead of myself here and forgetting you just might be someone discovering The Hip Priests for the very first time, sat there all comfy on your toilet (I mean where else would you read about the Hip Priests?) thinking that in those intervening 5 years the band’s core trio of bassist Lee Love, guitarist Austin Rocket and vocalist Nathan Von Cruz must have been hidden away on some tropical island paradise recording a masterpiece in studio fuckery with Muff Flange. Well, you’d of course be very wrong indeed, because during the past 5 years what The Hip Priests have actually been doing is working their arses off by relentlessly touring (with the likes of Zeke, The Dwarves and The Bitch Queens) whilst releasing a bazillion independently funded and released limited edition 7” singles. Whilst in the process of doing all this they also managed to lose 2 drummers (before arriving at current sticksman D.P. Bomber), decided to turbocharge their sound via the addition of a second guitarist (via the enigmatic Silent Mike – who has subsequently moved on to pastures new), and then came within a hair’s breadth of finally getting themselves signed to a major label. Something that would ultimately come to nothing when the A&R guy signing them was “let go” by the label.
Phew! That potted history reads like a draft film script doesn’t it, but this boys and girls is the harsh reality of being in a proper rock ‘n’ roll band, one that is driven to succeed at all costs.
So, after all that does ‘Stand For Nothing’ live up to my heady expectations as the record to propel them into 2019 as the number one independent rock band on the UK scene?
Well, it takes exactly one line of the album’s blistering opener ‘Welcome To Shit Island’ to answer this conundrum as Nathan Von Cruz venomously spits out “Small minds, dumb pricks – drop a bomb on this isle of shit” and I can immediately feel myself grinning from ear to ear whilst punching the air with absolute joy. YES! Someone is finally not afraid to speak the truth and there really is no time like right now (excuse the pun) to celebrate it. In fact, all joking aside if ever there was a sign that The Hip Priests were evolving into a much bigger and angrier sounding beast than ever before it was that 10 minute epic (which curiously doesn’t make the final track listing here) that well and truly pissed the line in the sand regarding the band’s musical ambitions.
The expansion of sound that was so evident during the horn-driven ‘No Time (Like Right Now)’ is thankfully driven headlong into this album too and the aforementioned addition of a second guitarist gives tracks like the stunning ‘Losers Of The Faith’ (which I must admit is my favourite track here) and the glorious one-finger piano-driven ‘Stand For Nothing’ an additional melodic edge, something that just might have been missing from previous Priests’ records where the band chose to simply bulldozer you into aural ecstasy.
Fear not though fellow Spasm Gangbangers because that old school Priests sound is still very much here in abundance during tracks like the caustic ‘Social Hand Grenade’, and the thundering album closer ‘Rock N Roll Leper’ plus let’s not forget the already firmly established live favourite ‘Cheers To Me’. It’s just that this time around I’m finding myself going back to the likes of the pounding ‘Deja F.U.’ and the dare I say it the “gothic sounding” ‘How Do You Get Off?’ (is that a hint of Farfisa I here in there lads?) time and time again as The Hip Priests truly spread their musical wings…sonically speaking of course.
What also really stands out on this record are the lyrics, and on the vinyl only track ‘U Okay Hun’ we get to rejoice in Lee Love’s lightning fast take on the world of the vacuous self-centred fucks that litter social media, a track which is without doubt one of his finest moments yet, and he’s written quite a few of those that’s for sure.
At the start of this review I stated that ‘Stand For Nothing’ contained no tracks about sex, which will be a total shock to any Priests fan’s moral system I know, but for those of you hankering for the ‘Saints Of Excess’ of old there’s still ‘Last Train Wrecks’ to look forward to, a glorious tale of self-destruction that comes complete with an intro from Happy Tom and actually revolves around some of the very people who will no doubt be rushing to buy their copy of this album when it goes on pre-sale on Feb 4th via the various labels involved and linked below.
Look, in ‘Stand For Nothing’ The Hip Priests have written one of, if not THE most important garage punk albums of 2019. Buy it now (via the links below) and help the band save Shit Island from forever falling into the sea of musical mediocrity. Essential!
Burning Shed has announced the ‘Cries And Whispers’, the long-awaited follow-up to ‘A Foreign Place’ (2015), the hugely successful biography of iconic British new wave innovators Japan by author Anthony Reynolds. It is being made available as a limited deluxe hardback first edition from Burning Shed.
Detailing the fascinating musical adventures of David Sylvian, Richard Barbieri, Rob Dean, Steve Jansen and Mick Karn from the time following the band’s split in December 1982 until 1991, the book takes in David Sylvian’s work for his first three solo albums, The Dolphin Brothers, Dali’s Car with Bauhaus vocalist Peter Murphy, the brilliant but ill-feted album they released under the name Rain Tree Crow, and more.
The book also explores David Sylvian’s collaborations with Holger Czukay and Ryuichi Sakamoto, the latter of which resulted in their epic ‘Forbidden Colours’, which featured on the soundtrack album of the hit film ‘Merry Christmas Mr Lawrence’.
‘A Foreign Place’was the first serious book on Japan. It was translated into Japanese and published in Japan, where it held at number one on the Japanese Amazon Pop Music Biography chart for four weeks. It has sold over 4000 copies to date, including the Japanese edition, without any external distribution.
Both books include previously unpublished photographs, including many from the private archives of the band members themselves.
‘Cries and Whispers’ also features a cover by renowned graphic designer Carl Glover, plus contributions from Bill Nelson, Johnny Marr, Simon Raymonde (Cocteau Twins/Bella Union), Ivo Watts-Russell (4AD Records), Bill Bruford (King Crimson), Martin Fry (ABC), Paul Morley (NME/ ZTT Records), Thomas Dolby and the late Colin Vearncombe (Black), among others.
Initially, a glam rock-inspired band, their sound and stylised visual appearance led to an unintentional association with the early-1980s New Romantic scene. The band split just as they were beginning to experience commercial success in the UK and abroad. They were unquestionably one of the most influential and innovative pop groups of the 1970s and 1980s.
“Is it shameful to be 40 something and still have a ‘favourite band’? If so, colour me shamed. Japan are my favourite band and as a fan I wanted to write and publish books on them that would enrapture and delight the fan in me. I hope I’ve done so, matching Style with content and mystery with beauty,” says author Anthony Reynolds.
Apart from ‘A Foreign Place’ and ‘Cries and Whispers’, Anthony Reynolds has published biographies on Leonard Cohen (a bestseller), Scott Walker and The Walker Brothers, and Jeff Buckley. He has also published two collections of poetry. To date, his books have been translated into 12 languages.
In 212 pages, this 210 x 210mm square, hardback book is cloth-bound with a gold and silver foil debos and features approximately 260 pictures. All copies of ‘Cries and Whispers’ come with a postcard signed by the author. Both Japan books are available exclusively through Burning Shed.
“This compelling account of the solo careers of Japan’s ex-members has clearly been a labour of love: Reynolds has sourced an amazing selection of personal photos, eyewitness accounts and technical details… The research here is exemplary” – The Wire
“Anthony Reynolds has clearly put forth the most far-reaching and insightful publications about Japan and its members published to date” – Big Takeover Magazine
On ‘A Foreign Place’: “Favourite thing I read over Christmas was Anthony Reynolds’ wonderful book on Japan (the
band, not the country). Older Suede types will remember Anthony from his band Jack – an early Suede fave” – Mat Osman (Suede)
“A fascinating story“ – Classic Pop
“This is the big red book the defiant dons of delicacy deserve” – Prog Magazine
“Written with an enthusiasm that never flags”– Goldmine
“Anthony Reynolds’ biography is the first book to treat Japan’s career seriously and at length” – The Wire
* David Sylvian – vocals, guitars, keyboards
* Mick Karn – bass guitars, saxophone, backing vocals (died 2011)
* Steve Jansen – drums, percussion, keyboards
* Richard Barbieri – keyboards, synthesisers
* Rob Dean – guitars, backing vocals
Japan’s biggest UK album was ‘Tin Drum’ (1981), which featured hit singles ‘The Art of Parties’, ‘Visions of China’, ‘Ghosts’, and ‘Cantonese Boy’.
Japan achieved nine UK Top 40 hits in the early 1980s, most notably the ethereal oddity ‘Ghosts’, which reached No. 5 in 1982, and scoring a UK Top 5 with the 1983 live album ‘Oil on Canvas’.
Album launch show for Rich Ragany & The Digressions you say?Camden Town you say? The Spangles, The Speedways and More Kicks on the same bill for less than a tenner? Fuck me sideways I’ll have some of that.
It might be dryruary or whatever you want to call it, people might be feeling the post-Christmas pinch and the weather might be a bit baltic outside but worry not this is the Black Heart and as we all know it’s like a Rock ‘n’ Roll sauna upstairs and tonight it didn’t disappoint again.
First up tonight, The Spangles. kicking off tonight’s proceedings with their first soiree into London Town and I think it’s fair to say that I can speak on behalf of those here present they certainly didn’t leave anything behind as they knocked out tune after tune from their rather spiffin’ debut album ‘Sweet FA’. With some quality cheeky banter and beaming smiles, the top tunes kept coming. It was the perfect way to get this show underway. In thirty sweaty minutes, they showed that Rock ‘n’ Roll is in good hands and songs like ‘The Only One’, ‘Dirty Pictures’ and ‘Hold My Hand’ ensured that we’re in safe hands and on this evidence this might be the first visit to the Capital but it won’t be the last time these three talented guys hit London and I’m sure on the evidence of their performance and the quality of the music The Spangles are a tasty proposition and they will undoubtedly go from strength to strength.
Next up were those power poppin’ rock ‘n’ rollers The Speedways. Off the back of their debut album, they’ve been getting some decent column inches for a stunning piece of crafted power pop that is ‘Just Another Regular Summer’. This was my first time seeing the band live and with a rougher edge to the songs and some played faster it seemed to add to what are already really good songs. I think it worked really well having Mauro Venegas on lead guitar to buffer off Matt and his style of playing and it added to the sound of the songs. The band looked and sounded superb again much like The Spangles you would be forgiven for thinking they’d been a band for years. ‘Seen Better Days’ reminded me of Stiv around the ‘Disconnected’ era and live without the keyboards and that rougher edge they really hit the spot. If you wanted to hear the definition of powerful pop songs then this was it. ‘In Common with You’ was better than the recorded version sped up and sounded really good. Playing the album pretty much in sequence up until they threw in a faultless rendition of ‘They Don’t Know’ yeah that’s right the Kirsty MacColl number Tonight The Speedways took ownership and totally nailed it. The second band down and another band with a rosy future and capable of great things. I only hope they make more music together as they have a rosy future on the strength of a performance like that. Excellent!
We reach the halfway point of tonight’s proceedings and up next is the three-piece pop melodies of More Kicks. They might not have made it to an album launch of their own yet but their debut three-track single was excellent and if that’s the shape of things to come then let’s get it on. There are no airs and graces on display tonight, no egos jostling for the top spot just good time, honest Rock ‘n’ Roll played by people who clearly love what they’re doing and who walk the walk as well as talk the talk. More Kicks have got it all to prove and right from the off seem intent on letting the punters see what they have in their locker and again like the previous two bands they didn’t disappoint.
After seeing their last performance that was with The Briefs up at the Lexington I thought they took this one up a notch and they seemed to wring out a little more energy which was a fantastic achievement for a band brimming with the stuff. Again, More Kicks blast out hook after hook and melody after catchy lyric with the likes of songs as strong as opener ‘Young Enough’ it seemed like no biggie to just plug in and play confident that the tunes will stand up on their own and like Ali walking to the centre of the ring and doing the Ali shuffle followed by a knock out blow More Kicks must know these songs are so strong? They’ve not just got the one outstanding tune but a whole bloody set of them. Songs like ‘What A Mess’ are just wonderful live so full of energy and life if you could bottle this you’d be loaded.
Sulli is a great frontman, so enthusiastic and full of good energy with songs like ‘Shes A Reaction’ they can slow things down (a little) so it’s not all crash bang wallop! but beauty in such strong melodies, as well as a little dash of chaos, makes for the perfect power pop. Exploding Hearts, Stiv doing his power pop or The Boys these are all lined into the DNA of More Kicks as much as the charm and style of The Fab Four or the Kinks. oh and they’ve got the tunes as well trust me. By the time they play ‘Blame It On The Satellite’ – they’ve got it all going on and tonight they might just have stolen the show so far. A magnificent performance and if you can catch them I urge you to do so because you’re in for a right treat. Oh, and after the next single release can we have that album please guys?
Right, How the fuck do you follow that? Well, I guess one way is to pump classic Rod the mod over the PA as your intro tape then head straight into the title track of that brand new album. That’s one way of keeping this train on track as this six-piece set off as they meant to go on – there was no time for mucking about there was music to play and the audience seemed intent on having the best of times as the Digressions seemed duly obliged to deliver. ‘That World’ was dispatched and the band seemed to settle back and just clicked from Gaff’s empathetic lead guitar breaks to Kit Swings searing vocals. Andy (Brook) knew when to fill in and when to ease back on the keyboards it was a delight to hear such an accomplished set delivered by such a talented band. The rhythm section of Simon and Ricky locked everything down which left the room for Rags to lead everyone down his ‘Story Highway’ as songs like ‘Lose With Me’ took on a life of their own and sounded huge.
‘Scotty Thompson’ had swagger and it must have been great for the band to hear people singing back on tracks like ‘Later Than It Is’ considering it has only been available to pledgers thus far but it seems people have really taken to this side of Rags music and it might be less of a good time party band that Role Models is but that doesn’t mean its not about a good time because this is the best of times folks, make no mistake. Hearing the fourth band tonight with a new record in hand and just available it was a real pleasure. Considering the quality on offer I think it’s staggering it’s in the Black Heart and not somewhere five times the size such has been the standard on show. (maybe next time)
There was just about time for a Digressions take on Tom Petty’s ‘Listen To Her Heart’ before a really great version of ‘Easy’ before they ended the set with a spectacular ‘Your Distance’. That was too quick the set just flew by but before the curtain was drawn on a brilliant nights entertainment ol’ Rags was on stage alone lapping up the applause from the audience as he led them through an impromptu ‘Born To Lose’. Johnny would have been proud of that one that’s for sure!
We came we saw we conquered – Four bands just kicked Camden’s backside make no mistake about that. Four bands that deserve fantastic futures and every column inch of praise for writing and performing music that matters and doing it to such high standards – Goodnight Black Heart it’s been emotional. But oh so good can we do it again sometime?
I don’t know about you, but it’s rare for me to hear an album once and immediately think, ‘I have got to order this NOW’. But, thankfully, life occasionally throws these things our way, and having seen that Hunt Sales was about to release his, essentially, debut solo album, I figured it was worth checking out on the bedevilled Spotify to see just what it sounded like.
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