I was lucky to catch Ryan Hamilton & the Harlequin Ghosts on one of the seven dates on their ‘This is the Sound UK Tour’. After the release of the first album under their new name, ‘This is the Sound’, in May fans were looking forward to hearing songs from the new album as well as the band’s classic hits.
Arriving at the Borderline at about 7:15 pm just in time to grab a drink and watch the support, Dexy, at 7:30. I was sad to see so few people had turned up early to see him with a good acoustic set to warm up ready for Ryan Hamilton. It’s crazy to think 10 years ago on the same day I was off to Wembley to see the Jonas Brothers surrounded by thousands of screaming under 15 year old girls for my first ever gig and here I am now in the borderline with about 20-30 people, mainly men over the age of 30. Although it is on the rare occasion of attending a concert with my Dad that I was not the only millennial at the gig!
Ryan Hamilton and The Harlequin Ghosts dressed up in suits and in high spirits came onto the stage and opened the set with Smarter from the album ‘The Devil’s in the Detail’ and Mamacita from the new album ‘This is the Sound’ with the venue considerably more packed out for the main act. The combination of the small venue, Ryan’s interaction with the crowd and the rest of the band’s enthusiasm made the gig a more intimate and friendly experience for all the fans in the room, who knew every word to every song. It felt as though the band were part of the crowd as Ryan had banter with the crowd as we took selfies with the band from the front, and drank wine straight from the bottle after his trip to spoons earlier in the day, really embracing the British culture. For my first and probably last gig at the borderline as it is, unfortunately, closing down it was definitely a memorable one.
As the set reached an end the band closed with ‘Freak Flag’, which was clearly a fan favourite as the crowd sang at the top of their lungs, as well as the title track from the new album ‘This is the Sound’ before leaving the stage. As they came back to stage for an encore with classics such as ‘I’m so glad’ and ‘Ode to The Idiots’. After the band finished they went straight to the merch stand to meet their fans and sign CDs and records.
Billy Liar has been threatening this album for such a long time having teased us for years with songs and electric acoustic shows (that makes sense to me) His music is a ball of energy his lyrics are uplifting and you want to follow and listen intently and the pay off is hearing a bunch of songs that aren’t throw away – that really means something Billy Liar in a just world would be a household name such is his talent.
The production is big the songs sound well fed and ready to blow your speakers. The beauty is when you see one guy and his acoustic guitar you can imagine exactly how these would sound recorded well with a bang on production and hey presto here it is. Exactly how I imagined it – treated with the respect these tunes deserve and not over-egged.
‘The View From Here’ is sparkling its a ball of energy and is absolutely spot on for not being too long or too short and for not going overboard with the instruments. The energy is from the tempo and the fire in those guitar strings. the songs tell a story of living on Shit Island in 2019 yet as bleak as it gets these songs are uplifting ‘Independent People’ nails it with a melancholy wrapped in some fine lyrics then to follow it on with ‘Noose’ is a beautiful thing.
The charm and ragged beauty is a fine balancing act that Billy manages with consummate ease. If you want uptempo punk rock and roll then ‘Change’ will service your needs with a rapid beat it’s on fire. My biggest criticism is its only eleven songs and it’s over in under thirty minutes. But I love me some acoustic punk rock played with soul and passion and Billy has both in spades. I guess I can always take a deep breath and get back in there for some more but make sure you make it all the way through to get the full experience. ‘Less Vegas’ is a beautiful perspective and a wonderful way to end a thoroughly charming and quite exceptional album.
“Elvis was a hero to most, but he never meant shit to me…most of my heroes ain’t appeared on no stamp”. Chuck D, quoted from the inlay of ‘Generation Terrorists’ by The Manic Street Preachers back in 1992. That quote has always resonated with me. My heroes have always been the underdogs, they have never got the rewards or the worldwide acclaim they so rightly deserve. And one such artist happens to be Donnie Vie, the former singer of Chicago power-pop legends Enuff Z’Nuff.
Now Enuff Z’Nuff was a band out of time. Due to their garish, day-glo get up and pretty boy looks they were lumped into the hair metal scene when they blasted out of Chicago in 1989, and they could never shake that tag. But if you ignore the 80’s production and get past the squealing, dive bomb solos of original guitarist Derek Frigo, their early albums still stand the test of time where many others fail. Good songwriting is good songwriting whatever the production, and I can’t help feeling that if Donnie and songwriting partner/bassist Chip Z’Nuff had met in another place, at another time, they could’ve been household names.
You see Donnie & Chip were my generation’s Lennon & McCartney, and I don’t say that lightly, for me their back catalogue speaks for itself. But while they struggled on, releasing quality album after album, alas it was not meant to be. In-band fighting, addiction and being fucked over by record labels is a familiar rock ‘n’ roll story, and Enuff Z’Nuff had it all and threw it all away. Band members came and went, some died (R.I.P. Derek Frigo and drummer Ricky Parent). And while Chip still keeps the Enuff Z’Nuff peace flag flying, Donnie has long since washed his hands and carved out a solo career, vowing never return to his past band.
‘Beautiful Things’ is his first album in 4 years, and follows a period of time the singer has taken to physically and spiritually rebuild. Not helped by recent hospitalisation and the PledgeMusic debacle, the album has been delayed until now.
The influence of The Beatles has always been at the forefront of Donnie’s writing. Catchy, pop-tastic melodies and instant choruses have been a trademark since ‘New Thing’ and ‘Baby Loves You’ were all over MTV. And those influences are all over ‘Beautiful Things’, the man just can’t help himself.
Whether it’s the hazy, lazy title track that opens the album with dreamy, layered vocal harmonies, and Paul Gilbert’s trademark guitar licks, the acoustic-led ‘Breaking Me Down’ with its building, euphoric chorus, or the piano-led love letter to a lost love that closes the album, the ghost of the Fab Four presides over everything he does. There is much to enjoy from the ten tracks on offer and to be honest there is not a bad track on it. Prepare for goosebump moments ahead, there will be plenty.
The introspective ‘I Could Save The World with its ringing chords, haunting vocal harmonies and uplifting feel, was the first taste of this album late last year and promised much. It’s got Jellyfish legend Roger Joseph Manning Jr on it for starters! If there was ever a song to whet people’s appetite, then this was it. “All I wanna do is bring the good shit back” the man sings with such passion I believe his every word, and am with him every step of the way. What a tune.
Expectations were high from the moment I heard this song and Donnie has sure delivered. ‘Beautiful Things’ is an album full of passion, sentiment and good, good feeling. The songwriting is top notch, the production crystal clear and the performance is stellar.
All these songs stand up against the man’s extensive back catalogue. ‘Plain Jane’ is pure EZN fodder. The way the melody builds to yet another Lennon-esque chorus that Liam Gallagher would die to have penned. And I have to mention the uplifting ‘Whatever’. A perfect 3 minute pop song in the tradition of old school rock ‘n’ roll. It sounds like a vintage Beatles classic, the old 50’s inspired Beatles that cut their teeth playing bars in Germany. Everything is perfect about this song, the vocal delivery is spot on, the sentiment of the retrospective lyricism, and the production, it’s so retro I hear it in black and white! An instant classic and a welcome addition to the man’s back catalogue.
Donnie Vie has battled his own demons and come out the other side stronger and better for it. The distinctive, raspy vocals are as good as ever and the art of a catchy chorus has not been lost.
While it’s sad Chip and Donnie may never reunite as Enuff Z’Nuff, life goes on and Donnie has crafted an album that retains everything his former band delivered and more, while still sounding fresh, vibrant and current.
I can safely say ‘Beautiful Things’ is the best album Donnie Vie has released as a solo singer and probably the strongest set of songs since the release of Enuff Z’Nuff’s classic ‘Strength’ back in 1991. For me, this is one of the essential releases of the year.
Steve Soto died peacefully in his sleep on this day twelve months ago at the age of 54.
Steve first burst onto the scene way back in ’79 as a founding member of Agent Orange. Then moving on to Adolescents a year later playing bass guitar in both bands.
Just before he passed away the band had released their latest album ‘Cropduster’ and were heading out on tour to support that record when he passed peacefully in his sleep. I caught their emotional performance at Rebellion Festival where they paid tribute to their recently departed comrade in what turned out to be one of the festival’s highlights where the band paid an emotional set dedicated to Steve one I’m sure he’d have been proud of.
Soto also enjoyed being a member of Legal Weapon, Joyride, Manic Hispanic and the punk supergroup 22 Jacks. he also had his own band, Steve Soto and the Twisted Hearts and in 2001 he joined Punk Rock Karaoke to play sets filled with punk rock classics where members of the audience would get up and perform.
Adolescents were one of the main punk acts to emerge from Orange County at the turn of the ’80s and the iconic debut album (blue yeah that one) sold well all over the USA and further afield. Soto appears on over thirty records (inc Compilations and live albums and always had a smile whilst playing his Bass. Last years ‘Cropduster’ album was one of the best punk rock record to get released in 2018 and Steve passed away just before the band played Rebellion Festival in the UK where the set was dedicated to him and their iconic logo simply read ‘Soto’ – Rest in peace big guy – a punk rock legend.
Here’s “Love Me (A Stalker’s Song)” the brand new video and 3rd single taken from the latest Lester Greenowski’s release “Out Of Tune, Out Of Key” (Tornado Ride Records). The song is available on any major digital store and on all the main streaming services.
IDLES today announce a short tour for December – including their biggest headlining date yet on Saturday, 7th December at London’s Alexandra Palace.
Tue 3 Dec Glasgow, Barrowland Ballroom
Wed 4 Dec Manchester, Academy
Thu 5 Dec Leeds, O2 Academy
Sat 7 Dec London, Alexandra Palace
Tickets will go on sale this Friday 28th June at 9:30 AM BST but fans can gain access to artist pre-sale on Wednesday 26th June 9:30 AM BST by signing up at https://www.idlesband.com
Tickets will go on sale this Friday 28th June at 9:30 AM BST but fans can gain access to artist pre-sale on Wednesday 26th June 9:30 AM BST by signing up at https://www.idlesband.com
With their last shows selling out in minutes IDLES wanted to give as many fans as possible an opportunity to acquire tickets to celebrate what has been an incredible year. Tickets will be limited to 4 per person.
The band will also be working with Big Green Coach to provide a return coach service for fans to travel safely to and from the Alexandra Palace show. There will be services ran from Bristol, Bournemouth, Reading, Southampton and Swindon and tickets will be available direct from: https://www.biggreencoach.co.uk/idles
The band’s latest release “Mercedes Marxist” is currently A-listed at 6 Music and will be released physically on August 2nd as a 7″. The single will include another new song on its B-side, entitled “I Dream Guillotine.” Both tracks were written and recorded during the band’s sessions for “Joy as an Act of Resistance.” and pre-orders are available HERE.
The Libertines are very happy to announce a nine-date Christmas jaunt across the UK in December, along with shows in France, Germany, Luxembourg, Brussels and The Netherlands in October and November. Tickets, for what is The Libertines first headline tour in over two years, go on sale at 9:00 am on Friday 28th June and are available from www.gigsandtours.com&www.ticketmaster.co.ukThe full dates are:
OCTOBER
27th Sunday Paris Olympia
NOVEMBER
2nd Saturday Cologne Carlswerk
4th Monday Munich Tonhalle
5th Tuesday Berlin Columbiahalle
17th Sunday Luxembourg Den Atelier
18th Monday Brussels Cirque Royale
20th Wednesday Utrecht Tivoli Vrendenburg
21st ThursdayUtrechtTivoli Vredenburg
DECEMBER
3rd Tuesday Bournemouth O2 Academy
4th Wednesday Leeds O2 Academy
6th Friday Dundee Caird Hall
7th Saturday Glasgow Barrowland Ballroom
10th Tuesday Manchester O2 Victoria Warehouse
12th Thursday Nottingham Rock City
14th Saturday Birmingham O2 Academy
16th Monday Bristol O2 Academy
18th Wednesday London O2 Academy Brixton
The Libertines bar ‘The WasteLand’ and recording studio, at‘The Albion Rooms’ in Margate, open on the 16th August. More details on the opening celebrations of the bar and studio to follow shortly.
As previously announced Peter Doherty and Carl Barât play two acoustic shows at London’s Hackney Empire on Thursday 5th September and Friday 6th September, as part of Somewhere Festival, which sold-out within minutes of going on sale.
Peter Doherty recently released his acclaimed new album ‘Peter Doherty & The Puta Madres’ and toured the UK and Europe. Carl Barât latterly returned from a sold-out tour of the far East. The Libertines are currently working on their fourth album, the followup to the No.3 UK charting album ’Anthems For Doomed Youth’ (2015), which spawned the hits ‘Gunga Din,’ ‘Heart Of The Matter’ and ‘You’re My Waterloo.’
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
The signings and in-stores are in support of their much-anticipated debut album, “When I Have Fears”, set for release on August 16th through Human Season Records.
The album will be available on gatefold colour LP, black LP, as part of a limited bundle (gatefold colour LP, t-shirt, pin & journal), CD and as a digital download.
Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, “Feeling Fades” and “Green & Blue”, as well as the first studio recording of breakthrough track “More Is Less”.
An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band’s sound. From the post-rock build and breakdowns of the two-part “Slowdance” to the tender, bruised confessional of “On Twisted Ground” and industrial pulse of closer “Love, Love, Love”, there’s a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.
As well as festival dates across the summer, the band will head out on two headline tours – once in July and again in October / November.
Full dates below with tickets available from Website
You can catch the band live on the following dates:
29th June – Rock Werchter – Werchter, BE
30th June – Metropolis Festival – Rotterdam, NL
13th July – Heartbreakers – Southampton, UK
14th July – Citadel Festival – London, UK
15th July – The Portland Arms – Cambridge, UK
16th July – The Boiler Room – Guildford, UK
18th July – Valkhof Festival – Nijmegen, NL
19th July – Latitude Festival – Beccles, UK
20th July – The Independent – Sunderland, UK
21st July – Doune The Rabbit Hole – Port of Meredith, UK
23rd July – The Crescent – York, UK
24th July – The Cookie – Leicester, UK
25th July – The Arts Club – Liverpool, UK
16th August – The Button Factory – Dublin, IRE 7th October – The Exchange – Bristol, UK
8th October – Bodega Social Club – Nottingham, UK 10th October – Dome, Tuffnell Park – London, UK
11th October – The Haunt – Brighton, UK
12th October – Castle & Falcon – Birmingham, UK
14th October – Brudenell Social Club – Leeds, UK
15th October – The Mash House – Edinburgh, UK
16th October – King Tut’s Wah Wah Hut – Glasgow, UK
18th October – YES (The Pink Room) – Manchester, UK
26th October – V11 – Rotterdam, NL
28th October – Le Grand Mix – Tourcoing, FR
29th October – Portobello – Caen, FR
31st October – Le Rocher de Palmer – Bordeaux, FR
1st November – La Rex – Toulouse, FR
2nd November – La Paloma – Nimes, FR
4th November – Joker’s Pub – Angers, FR
6th November – Nouveau Casino – Paris, FR
8th November – L’Autre Canal – Nancy, FR
9th November – La Poudriere – Belfort, FR
12th November – Molotow Musikclub – Hamburg, DE
13th November – Music und Frieden – Berlin, DE
14th November – Artheater – Cologne, DE
Seeing as we’re at the movies today we indulged in a couple of releases firstly the Cleopatra double of Johnny Thunders ‘Madrid Memory’ that’s a special edition audio Cd and DVD is taken from when Johnny played Spain in 94 at La Edad De Oro with his band of capable players Sylvain, Rath, and Nolan (not a bad bunch to have playing with you I’m sure you’ll agree)
Firstly this seventeen track show isn’t surround sound crystal clear quality some might expect and the mix right from the start goes from bootleg quality to poor desk mix as Raths bass thumps through the mix on pipeline maybe its an idea to get in the mood first by downing a bottle of jager and jumpin’ up and down just for old times sake.
Right sorted, we can begin. slamming into a chaotic ‘Personality Crisis’ the mix doesn’t improve much but that was always part of the reason we got into this pirate Rock and Roll and then thunders vocals booms into the mix over the skin tight beat of Nolan who really was the glue that held it all together and I guess Thunders knew that – as out of it he might have got Jerry always held it together and it was always a credible sound coming from the band Rath and Nolan were a formidable rhythm section and by the time they ripped into ‘Junkie Business’ they were firing on all cylinders. Hearing Johnnys guitar wail out of tune might be funny now and quite endearing looking back but fuck me Johnny sort it out fella.
The set is excellent and the inclusion of Sylvains ’14th Street Beat’ is most welcome. Having three Dolls playing or three Heartbreakers, either way, it still excites me and my God I wish I paid more attention to what was happening in front of me at the time and I had taken more notice when seeing these guys play all those years ago. When this band were in sync they were breathtaking and when they were a little sloppy (cough cough) (‘Don’t Mess With Cupid’) they were exhilarating and the air of danger was evident – real Rock and Roll played by real Rock and Rollers God I miss them.
To finish off there are four tracks of Johnny playing with an unnamed flamenco player and rehearsals were clearly not on the agenda and the car crash makes me smile unlike the amount of reverb Johnny has on his vocal ‘Eve Of Destruction’ makes this worth buying on its own. Not just for the shambles but when Johnny’s voice cracks its hilarious and Johnny acknowledging that it can only get better shows he wasn’t a total fuck up – God bless him. things do improve (slightly) for ‘Diary Of A Lover’ I emphasize Slightly. as for the echo on the closer ‘Memory’ maybe it’s not reverb and Johnny has left the building. God loves a trier and trying with flamenco was admirable one of the weirder recording no question about that. Completists will be all over this – the curious will also check it out. Like or loath all the posthumous releases at times they are bloody good and this is no exception. As for the video, the intro being left in shows its age with the presenter yapping for four minutes whilst the camera roams the room it’s a bit weird.
As for the video performance Man, this line up would have been something had they gotten into the studio and Jerry looks dashing in his hat bullfighting get up as does Johnny. So the picture quality isn’t 4K but who’d want to see what Syl is wearing in 4K anyway it looks like he just left his painting and decorating crew round the corner whilst he held down this moonlighting job with his old pals. Listen it is what it is and considering its been saved from a mid 80s tv recording in Spain I’ll take it every day of the week. Bollocks to smooth transitions between the songs when Rock and Rollers looked this cool even when they were off their tits isn’t something everyone could do. God bless the three Heartbreakers here for they inherited the earth or something like that. I hope they keep uncovering shit like this for the next twenty years I’ll never ever get tired of it – Just buy it!
Room 37 the Mysterious Death Of Johnny Thunders (MVD Visual) We all know what happened but really nobody knows what happened. Well, Johnny knew but he can’t say.
The movie begins with ‘Alone In A Crowd’ blasting as Johnny turns up saddlebags n all wandering into St Peters Guest House room 37. The film portrays Johnny as a shaking jittering jaundice junkie on his last legs. whilst he’s talking business with Sylvain on the blower then taking his medicine. the bar band is none other than Kevin Preston then playing on the jukebox is Walter Lure wow it’s making me smile as I nerd out. Johnny telling his own story about why he was in New Orleans stressing he’s clean then getting up to play ‘Born To Lose’ yeah right. The collapse n all that follows is weird and about to get a whole lot weirder. Leo Ramsey does a decent enough job as Johnny but how accurate this is we’ll never know.
Johnny looks unwell from either the comedown or leukemia (most probably both) we’ll never get the truth the Police fucked that up in their investigation but the shamanic beast that follows Johnny through his jibbering last days is hard as is his wheezing sweating shaking demise. It’s sad to see and for a fan, a massive fan to think he spent his last days alone suffering in pain and traumatized and when he was robbed it’s tough to take. I believe Johnny had good intentions when he went to New Orleans and knew he was ill. Johnny took the secrets to his grave of what happened in his final days/hours sadly we’ll never know the truth – the whole truth and whilst films like this keep the memory of Johnny alive for us its far fetched and a sad dramatisation of his last days.
The throw away comments like too much junkie business’ are a bit cringy when he’s trying to buy some methadone in his dreams it portrays well his state of mind and how troubled he might have been the studio hallucinations are disturbing and quite a good horror jump scare. The vomiting isn’t nice and the tone is dark as fuck as he vanishes down that wormhole inside the hospital those scenes are disturbed. All I can think of is poor Johnny I just wanted to hug the guy. I still find myself thinking he was way too young and illness or not he went way too young and in such tragic circumstances.
The film seemed keen to push the leukemia angle and Johnny carries himself around on pure momentum and a will not to die rather than being able to move and walk normally. It’s certainly a trip of a movie at times really hard viewing it doesn’t really offer much in a way of explaining what really happened just gives a very dark drug-addled view as to what could have happened. Poor Johnny I miss the guy’s music but felt after watching this that I’d rather he was still alive and well more than anything. His friend Iris is the main character who spent time with him before his death before his horrible tragic death. This isn’t a film to put a smile across your face that’s for sure, you won’t remember him because of his music if this were your introduction to the world of JT – Me I’d take Looking For Johnny and remember his fantastic musical legacy. No matter how he finally passed away New Orleans was his resting place and a dark horror flick that passes for entertainment makes me sad, poor Johnny he never got the justice he deserved. I’m not even sure I enjoyed the film perhaps I’ll watch it again when it doesn’t leave me so cold.
“‘In The Dark We Dwell’ is about gravitating towards self-destruction,” explains frontman Scott Picking. “It’s an insight into the past. It’s about who we used to be and who we are now.”
The video directed by the band is a respectful nod to Keith Flint and anyone suffering from their own internal darkness.
‘In The Dark We Dwell’ and the new album ‘Body Bag Your Scene’ is out this Friday from Bomber Music.
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