Day 2 (A Trip To Paisley Park)

This is where the whole idea of our road trip began and why we have travelled to the much cooler climate of Minneapolis before heading over to sunny California. Sorry residents of Minneapolis, but if it wasn’t for Prince we would not have even thought to come to see your city on this trip. We have come on a musical pilgrimage to connect, to gain some sort of higher understanding.  To see and to draw in the energy of the space where Prince created his whole musical world, this seemingly unreachable place (to us UK residents anyway), this Mecca, where he lived and where he ultimately died.

We don’t really know what to expect. During the 30-minute car journey, we both agree that we are expecting it to be an unprofessional setup. Very probably a badly organised and rushed exhibition, with a tour guide who probably isn’t even a fan. This is what we were prepared for and that was fine the experience, we were hoping, was going to be enough to satisfy our needs.

Paisley Park is situated on what looks to be nothing more than an industrial estate, so much so I expect to see a Screwfix around every bend. You can see the building as you approach from the highway. The large, angular and quite plain looking white building, built back in 1986, is not hidden away as you would expect the reclusive singer to have it.

 

No phones or cameras are allowed inside the Paisley Park complex. No filming or touching of the items on display is allowed. And that is the way it should be, it keeps the experience intimate and very personal, just the way I imagine he would have wanted it.

We booked a VIP tour, it was expensive, but fuck it, how often will I get to do something like this? This is what this trip is all about, all or nothing, when in Rome and all that! There are 12 people in our group and our tour guide is way more knowledgeable than we could have imagined. Straight from the off you can tell this is the real deal, informative and interesting, the guides know their shit, and the people at Paisley Park know how to put together a tour.

We are led to The Atrium, the entrance hall to Paisley Park. There is an ornate marble floor, in the centre, the iconic Love symbol, where our guide informs us is the spot where he recorded famous interviews with Oprah and Mel B (YouTube it). Above to our right is a balcony where his pet doves are housed in cages. Directly above us, a miniature replica of Paisley Park which contains Prince’s remains. We are given a minute of silence to pay our respects, deep in our own thoughts. And if that experience doesn’t move you emotionally and spiritually, then nothing will. It’s already the trippiest day of my life and we haven’t even got going yet.

 

We are then given some time to explore the various rooms that lead off from The Atrium. From here there are several rooms themed to different eras of Prince’s career. From ‘Dirty Mind’ and ‘Controversy’ with his original Madcat Telecaster, lyric sheets and demo cassettes on display, onto stage costumes from ‘Lovesexy’ and ‘Sign O The Times’ Tours. Although some rooms have been themed, many have been left just as they were the day he died. In his office, papers and lyric sheets are scattered on the desks and a suitcase sits by his desk, as if awaiting their owners return, this just seems to bring home how real this all is.

There’s a video editing suite with a sofa, where he would sit with dancers and watch hours upon hours of concert footage, improving the routines and the shows, ironing out the errors. A kitchen area with a TV where he would sit and watch basketball matches.

 

We are then led through a rabbit warren of various studios and soundspaces, every one ‘wired for sound’. This guided tour includes a photo opportunity next to the piano from his final ‘Piano & a Microphone’ Tour, next to it, one of his blue cloud guitars. Even cooler, while we wait for everyone to take their turn doing photos, we get to play table tennis on the actual table Prince used in his own precious down time. Even the ping pong balls have the Love symbol logo on.

In this large, wooden floored main recording studio, behind glass we peer at the mixing desk, all equipment just as he left it, down to the iconic Lynn drum machine that he used to get that signature sound from ‘1999’ until ‘Sign O’ The Times’. In this very room he recorded ‘Diamonds & Pearls’ and ‘Lovesexy’. The songs that have been recorded in this room, the legends that have joined him here, if only these walls could talk…

We learn he was recording a jazz album at the time of his death to be released on Blue Note Records. We then get the opportunity to hear one of the unreleased tracks from it, an instrumental. While listening through massive studio speakers, we get to take it the reality that the last thing he did before he died was to play and record in this very room.

 

The Purple Rain room is situated in what used to be the dance rehearsal studio, where he would choreograph and perfect the dance routines for hours and hours before each tour. The wall of mirrors is still there and the rails where the curtains once hung still visible. Here is housed the iconic artifacts from the 1984 film. The purple Honda motorbike, the white cloud guitar and the purple jacket from the film’s finale. We stare, we process and try and capture these images in our memories for eternity.

The corridors leading off are adorned with murals and paintings commissioned by the man himself, all left exactly as they were when Paisley Park was a working studio. We walk past his awards, there’s the Grammys, the MTV Music Awards and the Brit awards, all housed behind glass and all out on display. Through a window can be seen his beloved tour bus from the 90’s, parked up and covered in leaves. Probably not moved for years, forgotten like some ancient relic that has not yet been assigned to the rock ‘n’ roll graveyard.

 

We are then led into what is the grand finale, so to speak. The main soundstage, the room where Prince held many gigs and events. The ‘Rave Unto The Year 2000’ concert DVD was filmed here, as well as many of his promo videos. In this room, on several raised stages are more stage costumes and guitars from the last 10 years of his life. The matching suits and Stratocasters from the ‘Musicology’ period, including the red suit and strat he played at the Monterey Jazz Festival, it’s all here. Even two of the cars he could regularly be seen driving around town are parked in here, a purple Plymouth Prowler and a sky blue Bentley Continental, it truly is a fanboys wet dream and I freakin’ love it all!

Leading from this is the nightclub where Prince hosted parties well into the night. We are led to one of the private seating areas and our host tells us stories of how he would sometimes appear from the stairs behind and how he would get up and DJ and sometimes he would invite people to go watch a movie with him at the local cinema.

 

You could spend a small fortune in the merch shop, I went for a mug and a set of plectrums, Sedd bought a baseball shirt and an NPG pin. We learn from our guide that there is an underpass across the road where fans have adorned the walls with messages and tributes in graffiti. We have enough time to go in search. This Mecca, seemingly hidden from the world, is a secret place to go and think, contemplate or grieve, take photos or simply just read the messages of love from fans. Someone has even left a marker so you can add to the tributes…we do.

 

It’s the perfect end to an experience that exceeded all expectations, and even if the plane goes down on our flight to San Francisco later today, I will raise a smile and think to myself “yeah, it was all worth it”. Although it’s goodbye to Paisley Park and Minneapolis, there will always be a piece of it in my heart now. Our brothers would have loved this, goodbye Minneapolis…hello San Francisco!

 

Author: Ben Hughes

These weeks Monday morning video selections are all culled from some of this weeks revies starting with today’s album review the fantastic Nikki Hill performing a Chuck Classic. view away those Monday mornings. blues.

Next up, Later this week we review the brand new album from Californian punk legends the US Bombs. until then we’ll leave you with this classic.

Finally this week we bring you the brand new album that features Honest John Plain so its only fair that we round up this week three videos with a classic released on the same label as this weeks review.  Take it away John…

Talk about nice timing for an album. Nikki Hill delivers a rock and roll album that is raw, vital, infused with blues and soul, and in need of being heard. Hill grew up in Durham, North Carolina and transitioned from singing in church to lending her vocals to other performers passing through town. Her development would take her to St. Louis where her confidence grew, which combined with her independent streak has gifted us with a hard hitting artist that can go from smooth soul to AC/DC in her live shows, which she is doing about 200 nights per year. ‘Feline Roots’ showcases a variety of sounds across these 10 wonderful songs that are going to take up residence on your stereo.

Hill wastes no time in showing she means business with the opening guitar riff of ‘Get Down, Crawl’ setting the speakers on fire as Hill sings over a hard driving bluesy beat. The bass (Nick Gaitan) and drum (Marty Dodson) work here immediately stand out as well. This is an opening number that immediately grabs the listener by the neck and says you’re not going anywhere. Hill sings with a healthy swagger that showcases the confidence she has developed. ‘Don’t Be the Sucker’ storms in on a bluesy electric guitar riff that is part vintage Rolling Stones, part Dylan, and part garage rock. Hill’s vocals hit that magic spot and pop in the live sounding mix. The chorus allows her a brief acapella spot to showcase her melody. The guitar solo makes me aware that my feet are tapping, and I am playing some air guitar. Pounding on the drums leads us into a killer vocal by Hill at the start of ‘Just Can’t Trust You.’ The guitar riffs slice and dice as Hill offers a great vocal over the pounding beat. The chorus simply melts into your brain. Closing my eyes, the sound of the album really lends itself to sounding like we are capturing an incredibly special live show, kind of like ‘Live at the Star Club’ by Jerry Lee Lewis.

Mixing things up completely, ‘Can’t Love You Back’ features a reggae beat and has grown on me with every listen. Hill showcases some dynamic versatility that really speaks to what a great singer she is. Matt Hill showcases some nice riffs throughout this one as well with Laura Chavez laying down guitar as well. ‘Holler Out Loud’ ushers in the end of the first half of the record with Hill displaying some soul and channeling the magical spirit of rock and roll. This is another chorus that gets stuck in the brain with some great electric guitar licks that falls somewhere between the blues greats, Chuck Berry, and Johnny Thunders.

‘Poisoning the Well’ gets the second half started with Hill and the drums introducing the song with some similar vocal phrasing to ‘War Pigs’ by Black Sabbath before the rest of the band comes in on the back half of the verse. Hill is not rewriting the rulebook here or laying new ground. She is standing proud though on what has come before and asserting herself as a member of rock and roll royalty. There is a fire in these songs that just touches the soul with the guitar solo being just one example within this song. The pause before that last chorus is explosive and gets my adrenaline pumping every time. ‘Take the Ride (It Don’t Matter)’ continues to power the train down the tracks with urgency, passion, and some awesome layered backing vocals on the chorus for maximum effect. The slow electric guitar strum of ‘Tell the Next World’ immediately turns into a bluesy rock and roll boogie with Hill sounding like an angel who is perfectly within her element. Repeated listens really reveal just how special this album is and how lucky we are to be able to experience this.

The slow bluesy beat of ‘Might Get Killed Tonight’ gets the body moving and grooving. The hook is a little more subtle, but it just wraps itself around your brain a little bit more with each listen. Wrapping the album up way too soon is the pulsating ‘The Fire That’s in Me.’ This really serves as the perfect closer with the up-tempo beat allowing Hill to show off how she can nail those AC/DC covers live. Hill simply nails the vocals each and every time. The band is on fire with everyone feeding off one another for the perfect finale to this special album.

Nikki Hill may be a new name to many, but I don’t see how anyone could leave a show or listen to an album without immediately realizing that your musical world has been missing a vital ingredient. With a voice that can sound like velvet or coarse sandpaper, Hill is already a star; we all just need to hear her. This is one of those end of the year albums that makes you tear up your list of the best albums of the year because you realize you now have to start all over again to sort everything. Simply put, ‘Feline Roots’ showcases Nikki Hill as an artist that pours every ounce of her soul and spirit into her songs and performances. Highly, highly recommended.

‘Feline Roots’ is available here

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Author: Gerald Stansbury

 

 

Its been a while and a troubled beginning for nicotine Pretty but finally, they seem settled and have a brand new EP released and a decent support slot with the Quireboys in Cardiff. With a short space of time in which to impress the rather packed room the band get down to business and start kicking out the jams and it’s not long before the audience responded favorably to these south Wales hooligan rockers with their junked up take on punk rock n roll.  They hit the audience with the tunes from their EP and a cover of The Stones. They sounded tight and had a decent mix which is always a help for a band warming up any audience.  They have to be happy with how their songs went down tonight with a mainly middle-aged rock audience who to be fair looked like they loved it even Ginge knocking out his best Johnny Thunders solo during ‘Dead Flowers’ was well received and by the time they hit ‘Who’s Gonna Save My Soul?’ they could have gone on.

The Quireboys. I’ve lost count as to how many times I’ve had the pleasure over the years going right back to their appearance in Swansea as the Queerboys I’ve seen them support Guns N Roses, Malmsteen, Aerosmith.  I’ve seen them take on the old school Reading Festival and win Donnington and smash it as well as dozens of times in venues big and small including the Dominion Theatre the Town and Country club and the last time they played the Globe there could only have been 40 people there which was a shock but tonight it must be fairly close to capacity which always baffles me how that happens but to be fair they always put in the miles and clearly aren’t afraid of hard work and with Spike, Guy, Keith and Paul being mainstays for quite some time they work well together and when they’re in the groove they are still a match for anyone on any stage.

spike declares them to play Rock and Roll and when they do they can be awesome and tonight early doors we get the classics ‘Misled’ and ‘There She Goes Again’ which take me right back to when going to a show was exciting and hearing a band rocking out was an absolute pleasure tonight was no difference but and not wanting to be critical I could do without the Blues numbers from ‘White Trash Blues’ whilst they were clearly going down well it’s just not my cup of tea at all and thankfully its ‘Mona Lisa Smiles’ that brings me back on track and ‘This Is Rock And Roll’ has the band purring once again as thankfully the blues workouts are put to bed.

‘One For The Road’ was dedicated to fallen bandmates Paul Hornby and Michael Lee which was a nice touch and from there on in it was The best of the Quireboys sounding as fresh as the carnation on Spikes Lapel. ‘Hey, You’, Sweet Mary Ann’ 7 O’Clock’ followed by a fantastic rendition of ‘I Don’t Love You Anymore’ and then to bring the curtain down on a fine evening with a fantastic live band we were all invited to a ‘Sex Party’.

Another night spent in the company of a mighty fine band who continue to make records and stay relevant because Rock and Roll is timeless and like Spike says this is Rock and Roll and I certainly wouldn’t disagree with that.

 

Nicotine Pretty Picture kind permission from Kevin Conrad Pick Photographers

Buy The Quireboys Here

Author:Dom Daley

Another week rolls by and we head towards Christmas but there are no mince pies or sherry being overindulged round here when there are records to review and Shows to see and last week was no exception as RPM brought you a diverse bunch on the live front as well as on the death decks.

 

Sadly the last seven days saw another rock n roller pass on to the next life and we said goodbye to Peter Blast.  I had the pleasure of reviewing several of his albums and spoke to him in the last twelve months.  On behalf of everyone here at RPM I’d like to offer our condolences to his family and friends and raise a glass to his memory.

 

We also brought you an interview with Phil Privilege from the  awesome kings of power punk n pop Cyanide Pills with an amazing trail of singles and albums as part of their repertoire Phil told us they were on the way to deliver the next long player as well as answer a few of our questions about the band, Catch up with it here

 

We also had some pretty diverse live reviews from the likes of hard rockin’ Junkyard Cowboy Junkies and a doubleheader from He Who Cannot Be Named and the Awesome Hip Priests. But our bread and butter has to be our album reviews and with Black Friday RSD releases in thin supply some of our favourite labels did manage to put out some quality must have records in the shape of MC5. UK Subs ‘Sub Mission’ got its first pressing on record  and we again scoured the four corners of the globe to bring you the likes of Civic from Australia, X Darlings from Switzerland, Paris’ Youth Avoiders and Californias Smash Fashion to name a few.

As for the coming week, we continue with Bens California Dreaming road trip where he visits some pretty amazing places as he skips across the USA. we also caught a few amazing live shows and bring you some fantastic records by some well-known people as well as some of the finest new performers current kicking up a storm on record players and concert halls around the planet. Remember to stick with RPM for all your alternative news and reviews. As Lux used to say “Stay Sick” www.rpmonline.co.uk its a rock n roll revolution!

 

 

 

True story.  I happened to be in New York just before Christmas having decided to take the trip because I’d had heart surgery and died a couple of times so to celebrate being fixed we took in the big apple and on the day we flew home I read that EF was playing an instore in Bloomingdales so grabbed a cab and set off only to arrive at the wrong store so missed the show and had to head back home having not seen the band on their home turf and failed to pick up some shirts and a book as well so epic fail on my part.  Anyway fast forward a few years and when RPM kicked off there were a bunch of bands I was looking forward to covering and Electric Frankenstein was one of them so when I read that Sal was looking for submissions for a brand new ‘Fistful Of Rock And Roll’ it seemed like the perfect time to reach out and grab a quick chat. Heres what went down…

Firstly you’ve got a whole bunch of great bands ready for the next compilation album.  Why now for a new release?  Was there a particular song or band you heard that made you want to put this together?

Well, why now is because suddenly it is 10 years already after volume 13 of “A Fistful of Rock & Roll” came out and I was seeing that there is a whole new generation of bands that are playing and recording now that were influenced by the bands on the first Fistful of Rock series. There were so many new bands and really great sounding bands, not only from the US and the UK , but from all over the world.

Actually, there was a group of 8 new bands that made me say, “Oh wow, I really need to document all the new bands since the first series!”. And those bands are Black Gremlin ( Italy ), Flash House (UK), Liberty Slaves (UK). Scum Bag Millionaire ( Sweden ), Bitch Queens ( Switzerland ), Detroit Sound ( Norway ), and Night Birds ( USA ). I didn’t want all these new bands to disappear without some cheerleading support that can go out worldwide. The first series sparked a global movement for High Energy / Punk Rock & Roll, which is also called Action Rock. For a few years things seemed quiet for Rock & Roll music, but then in the last year all the best of the original generation that moved the bar up for real Rock & Roll started doing reunion shows and at the same time all new bands started appearing. The new bands are really great bands that have moved the bar even further.

 

You’ve obviously been inundated with some fantastic responses too, any particular favourites?

Ha, so, so many bands, over 300 so far! Besides the 8 bands above, I have been listening to great bands like: King Mastino, Idol Lips, The Innocent, Temporal Sluts and others from Italy; Iron Lizards from France; Black Actress, Red Hot Rebellion, Hell’s Engine, Killer Hearts, Thee Perfect Gentlemen, Focke Wolves, Lovesores, Poison Boys, The Cops from USA; Dumbell, Black Sheriff, Christmas, Stacy Crowne from Germany; Stingray from Norway; Chuck Norris Experiment, from Sweden; Hard Action from Finland; Columbian Neckties from Denmark; Savage Beat, Dirty Denims from Netherlands;The Hip Priests, Motherfuckin Motherfuckers, Deathtraps from UK, Turbocoopers, Los Burros from Argentina, Deadvikings, Jet Boys from Japan, Tracy Lords from Hong Kong, The Sick Things from Montreal, Dead Furies from Estonia; Poison Heart from Poland; Aberration, East Coast Low from Australia, and so many more!

 

enough for a few compilations then?

More is always welcome, I want to document ALL the best of the new Rock & Roll bands. So far I am completing the first 6 volumes. I will put out the first 3, then 3 volumes at a time after that. Like the first series, which was 13 volumes, I aim to do another 13 volumes or more, as many as are necessary.

 

What About Electric Frankenstein?  When can we hear some new music from your band?

I added an unreleased EF song on the comp, never fear, ha. We have written enough new songs for at least 3 albums work of music. Soon as we complete a batch so we can demo them for labels, we wish to get things rolling again.

There was an announcement that the band is going to tour in 2019 to celebrate twenty years of ‘How To Make A Monster’ wow where does the time go? it seems like only yesterday.  It has been great to see Gluecifer back playing that would be a cool line up I’m sure you could make that happen.  Anyway, where do these tour plans extend to?  Can the UK expect any dates? you mentioned our good friends The Hip Priests who also have an album early next year that would be a superb match up.

Everything is in the early planning stages. EF is ready to tour, we were in Japan in October 2017 and toured with The Adolescents on the east coast this past June. We should be touring in Europe this coming July, hopefully. We are looking into the UK for August or so. Hip Priests are always our number one choice for the UK and now all our new band friends as well.  Fingers crossed that it all happens.

 

The artwork is iconic and instantly recognizable with the band and seeing the pin badges and patches as well as the show posters it must be hugely satisfying to see people pick up on this all the time and the amount of bands who want to be a part of the Fistful comps is quite incredible there’s always been a lot of love and respect for you guys.  We like to keep an ear to the ground but the response you get is amazing so much to keep up with you must be blown away?

Well, it’s the bands that impress me. About myself, I must have good taste, ha hah, because I always pick the best song by each band. I have always been a person that is personable and friendly and sincere, so in other words, I am not an asshole towards other people and other bands, so it is very satisfying that I can work with so many bands worldwide. I feel that I have done the right thing and stepped up to the plate to make this great accomplishment, not just with A Fistful of Rock & Roll but with Electric Frankenstein as well.

The bands back catalogue is impressive are there any plans for an anniversary Make a monster with bonus cuts or live shows etc?  what about any more spare parts releases to bring us up to date? apart from the split with thee eviltones, the world needs EF.

There is a “More Spare Parts” album available digitally only on iTunes and elsewhere that is fairly recent. I am more concerned with recording all the new songs that we have archived to make as big a musical statement as we did with all our early albums.

So there you have it folks keep an eye out for some EF music and tour dates in 2019 both would be most welcome I’m sure you’ll agree and when the new compilation is released my advice would be to get right on it there are some fantastic bands that we know of and would highly recommend for your listening pleasure besides it would be our pleasure to keep you informed of any news from the Electric Frankenstein camp.  Thanks to Sal for giving RPM the time of day and we look forward to the next time.

 

Buy Electric Frankenstein Here

EF Website

Author : Dom Daley

Over the years I have witnessed dozen and dozens of performances with almost as many lineups but I think its safe to say that the current line up is right up there with the best ever if not the hands-down top of the pile although I appreciate that is open to debate.  Stephen Straughan has been in the band for several years now and to put it one way – is part of the furniture and adds the required bite to proceedings which the current Subs line up deserves. Alvin and Jamie are without a doubt the driving force and an incredible powerhouse rhythm section that is up there with the best anywhere.  As for Charlie.  what can you say about the guy?  An incredibly likable frontman with an insatiable lust for life and one whose talent shows no sign of abating.

Of all the times I’ve seen the band I think this was my first foray into Bristol but I wouldn’t swear by that and with a healthy crowd inside the exchange on a school night the Subs casually saunter onto the stage and proceed to knock out a fantastic set with the required amount of mainstays and some very welcome additions to the ever-evolving set list.  Let’s be fair they have a bazillion songs to choose from yet always seem to throw up a new gem or two every tour. This one is no exception. 

 

They could easily get away with playing for seventy-five minutes and do the best of but they keep writing new material that is as strong if not stronger than their impressive back catalogue.  Tonight begins with the likes of ‘Fragile’ followed by ‘Quintessentials’ ‘Mouth on A Stick’ then to follow that up with ‘Ladt Esquire’ from the first album was some excellent choices. It then became apparent that this decent-sized audience that some down the front wanted to hold up their blessed camera phones which rightfully got Charlie’s goat a little, to say the least.  Sure take a few pics I do but that takes a few seconds then it’s gone but I’m also baffled as to why somebody would go to see a show and spent the entire evening watching it through a phone screen!  When did that even become a thing? Charlie became more and more perturbed by the actions of a few but he wasn’t the only one.

Anyway, the songs came hard and fast and the heat was raised by the time we hit a purple patch of classic Subs tunes and one to add to the list has to be ‘City Of The Dead’.  Not that the crowd needed warming up but to follow that with ‘I’ve Got A Gun’, ‘Emotional Blackmail’ and ‘Another Cuba’ was exceptional. I’m sure there are many who would say that their favourite album is ‘Endangered Species’ I flip-flop from one week to the next putting this at the top of the pile so it was great to hear ‘Fear Of Girls’ but when they chime up with ‘Bitter & Twisted’ I’m loving ‘Quintessential’ but enough of that their cover version of ‘Here Comes Alex’ sounds as bright as the first time I heard it.

We head into the home straight and from here on in its a sing-along classic fest.  ‘Teenage’, ‘Party In Paris’ they all lead to that classic bass line and ‘Warhead’ signals the crowd participation as some people lose their collective shit.  It is great that these songs we’ve possibly heard too many times still hit the spot and tonight ‘Warhead’ sounds as fresh as it ever has and as relevant as it ever has.  I guess our leaders have learned nothing over the decades.

For an encore tonight we’re treated to the trio of UK Subs classics in the shape of ‘C.I.D’, ‘I Live In A Car’ and to send us into the cold Bristol night its the ‘New York State Police’ and then we’re gone.  Another night in another town with the same familiar songs sounding as fresh as the day they were written watching a band killing it time after time and night after night already I’m checking my diary to see when I can catch them next and Cardiff Tramshed in 2019 it is. Phenomenal band phenomenal back catalogue and still giving, new EP and then there is Alvin’s solo album to look forward to – bring it on – the more the merrier.

Time & Matter

Buy UK Subs Here

Author :Dom Daley

The Godfathers will play TWO benefit concerts in Edinburgh & Glasgow in December for the family of Heavy Drapes’ lead singer Garry Borland who sadly died in June. They will play Voodoo Rooms in Edinburgh on Saturday 8th December & Audio in Glasgow on Sunday 9th December. On both nights special guests are Reaction & very special guests will be Heavy Drapes members Richie Simpson, Billy Duncanson & Jerry Crowe joined by The Godfathers’ singer Peter Coyne on vocals to perform some Heavy Drapes numbers & punk classics! The proceeds from both concerts will go directly to Garry’s widow Julie Borland & their daughter Mischa & tickets for Edinburgh & Glasgow are on sale NOW from the links below…

Tickets For Edinburgh

Tickets For Glasgow

Copies of the Heavy Drapes album Crashing Like Stars will be available on both nights or you can purchase on line from Here

AI guess If you were to hear this record without any details as to where and what for you’d probably be forgiven for thinking they’ve just graduated from the backstreets of some Oslo dive bar or studied at the rock and roll high school frequented by The Hellacopters and that would be a fair assumption but if I were to tell you they are from a hotbed of punk rock n fuckin roll straight  outta Warsaw you might raise an eyebrow but there are no borders in Rock n Roll and where a band is influenced from doesn’t matter but its generally accepted that certain Genres of music filter out into the world from certain often unique places like Grunge hailing from Seattle or Hair Metal coming outta LA or punk out of London (maybe).  I wouldn’t mind betting this is the first Polish scuzzy rock n roll band you’ve had the pleasure of hearing?  anyway on with the show.  ‘Heart Of Black City’ certainly nods in the general direction of Scandinavia and their sleazy garage rock n roll and I bet there are a few Gluecifer and Turbonegro records splattered throughout their collections which is a great thing proving that it’s getting out there and kids all over the place are picking up a guitar and writing music that certainly hits the spot around these parts.

 

I’d say that this third long player kicks off with more of a Gluecifer nod than Hellacopters vibe which is fine but its riff-a-rama rather than leaning towards the American garage rock of the Stooges but I’m sure that diluted in their DNA somewhere. Jacek Barton handles the vocals confidently and he’s certainly shooting from the same lip as Biff Malibu and we like that.  As the album opens up you reach ‘Prince Of Scum’ which has a cool intro that raises the tempo before rockin’ out.

 

‘For Life’ kicks off side two and a rather tasty bass line signals a fairly lengthy intro  that heads right down the Gluecifer route which is fine by me and we’re treated to more of the same the riffs are big and bruising but to close this offering out the band dedicate ‘Bagermossen’ to Hellacopters recently passed away guitar slinger  Strings its a nice touch and obviously that’s why the riffs are less heavy and lean more toward the style of the ‘Copters with plenty of noodling and string bending.  I’ve enjoyed my first forray into the sleazy underbelly of Warsaw’s Rock n Roll scene hopefully there will be more to come and Poison Heart will spearhead a new dawn of Polish rock n roll.  Why not its got to come from somewhere might as well be this fine Black city.

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Author : Dom Daley

 

For the first of hopefully many features, we’ve asked our regular guitar teaching scribe Leigh to pick through some players setups and gear rigs to hopefully get to the bottom of how a guitar sound is made. First up under the microscope is Los Angeles guitar player and now solo artist Mike Christie whose record we recently reviewed here at RPM. He talks guitars, amps and pedals with Leigh…

Mike Christie is one of the busiest players on the LA scene, between his many hours spent throwing shapes and breaking hearts he finds time to be a total gear nerd. He took the time to sit down with RPM’s Leigh Fuge to chat gear.

Leigh: Tell us a little bit about what you’re busy working on right now? What studio and live projects are you currently working on?

Mike: Currently I’m pushing the solo album. Some reviews/interviews are starting to come in, and I’ll be scheduling an appearance on the “Black Lung Show” soon. Just trying to keep it all up to date. As far as live projects, I recently joined up with Something Ferocious. Guys from the Amplifiers, and the Misguided. This is pretty new (a few weeks) for me. The band has been together for some time now, but I believe they have gone through a few line-up changes. I’m coming in working on some of their older stuff and writing some new tunes for them. We have a few shows coming up in Southern California over the next few weeks. I’m also working on a 60’s influenced Neo Soul band called Briana & the Fates. Briana has a hell of a voice and was kind enough to sing on my solo record. We have a debut E.P. we are currently working on and played our first show in Texas last month with the Bastards of Soul. Between all of that, and continuously writing for all 3 projects, it keeps me pretty busy.

Leigh: Let’s talk guitars, is there a number one that you tend to gravitate towards or are there are few in circulation with you?

Mike: Can’t say that I have a current #1. Over the years I think a lot of people saw me with the early 2000’s white Gibson Les Paul Custom. I toured heavily with that guitar and I used it for a lot of the ADHD, White Demons and Hellride shows. Skipping ahead a little bit, I tend to build a new rig around a specific project. If I’m lucky I’ll be able to use the guitar with a few different projects. Right now, I have been relying heavily on a 1989 Gibson 335 I bought of Kevin Bombay (Black Marquee). He’s an even bigger gearhead than I am. There’s a group of friends that basically circle like vultures when Kevin gets a new guitar because we know it’s just a matter of time until one of us gets a shot at buying it off him. The 335 is all over the Solo Record and the Briana & the Fates record. It’s getting quite a bit of play time with Something Ferocious as well.

Leigh: What about the 335 is so special to you? I have a couple of 335s myself and love them.

Mike: The 89 Gibson 335 is just a solid guitar. It’s a little old, heavily worn and get the job done for damn near everything I’m currently working on. I have always loved hollow-body guitars and over the past few years, I have been leaning more towards lower output pickups. This allows me to make the amp work a little harder and not have to depend on pedals as much. This guitar has a Bigsby which is new for me but came in handy for the soul band and I get a lot of use out it for the rock stuff as well. It’s loaded with a set of Alnico II humbuckers (about 8.2k in the bridge, and probably about 7.8k in the neck), a 50’s style wiring harness and a treble bleed mod. This guitar is a beast, I haven’t weighed it, but it feels much heavier than most of the Les Pauls I have owned in the past. I can get so many tones out of this guitar between the pickups, rolling off my volume or tone knob and some combination of the 3. It’s very easy to control the feedback at high volume, higher gain settings, and just screams when I step on boost. It has that really great musical feedback that I can weave in and out of between notes.

Leigh: What other guitars might someone see in your rig?

Mike: I’ve had a 92 Gibson Les Paul special that I have played on and off since the early 2000’s.  It was originally a two P-90 guitar that was routed out for a humbucker in the bridge. It was also heavily damaged in a flood when I was living in Arizona. A few years later, I put some work into it and its back up and running. There’s a Halo 335 hollow body (first guitar endorsement I ever got from a company in Southern California, not sure if they are still around) that I still play. I have completely re-done the entire guitar. Paint has been stripped, new tuners, pickups, and wiring harness. It’s currently loaded with a set of the Dimarzio 36th anniversary PAF humbuckers,  Emerson wiring harness, and  Grover tuners. I also picked up a Nash T63 recently (also from Kevin Bombay), loaded with a set of Joe Barden single coils. I was never a Tele guy, but this guitar has a huge baseball bat neck, good size frets and just plays fantastic.

Leigh: Do you find that you gravitate towards one brand or are you someone who owns quite a diverse guitar collection?

Mike: For most of my life I have always been a Gibson guy. I guess it’s just how I grew up. There’s something about those vintage Gibson’s that I have always gravitated towards. Some sort of Gibson has always been the basis of my sound regardless of the type of band I’m playing in. I have only wanted/needed other types of guitar for studio work mainly. Fortunately, most studios or friends of mine have let me use or borrow anything I needed.

Leigh: What amps are you using to make yourself heard?

Mike: Right now, I’m down to just a 1996 Korg Era Vox AC30. I picked it up specifically for the solo record and threw in a set of T.A.D. tubes. Those Alnico Blues just sit great in a mix, especially against a Marshall or other EL34 based amp. I have gone through a number of amps over the years, most recently I was playing a TopHat King Royal, Divided by 13 RDT 200 or a Friedman. The Vox sounds amazing and I can get some great tones out of it for rock music and/or the soul band. It is ungodly loud when you really open it up. It just sits in its own space and is damn near impossible to drown it out even in a loud band. It is also extremely unforgiving which has made me a much better player.

Leigh: Do you have a one-stop shop rig that you use for each project or are you someone that builds a rig for a job. Personally, I drive myself nuts with this because I totally re-build my rig each time I have something different to do.

Mike: Much like you, I typically build a rig around each project. If I get multiple uses, it’s just a bonus.  There are always the tried and true amps that will work for anything rock related. You can’t go wrong with a JCM 800 or a solid JMP. I have stuck with the Vox for now 1.) because its sounds awesome and 2.) I can typically find another guitar player with a great Marshall sound but it’s really hard to find the Vox guy. I decided recently to be that guy and it’s been really enjoyable. The EL84 break-up and sparkly chime make me rethink what I add to each song and how it will sit against another guitar tone.

Leigh: Are you a pedal user or do you prefer the direct approach? If so, what’s usually on the board?

Mike: It really depends on the situation. If I’m in the studio I try to go as direct as possible to clean up my signal path unless it’s a very specific overdub however I always bring a ton of pedals with me.  Live performances are a whole other deal. Nowadays live I’m almost always depending on a boost of some sort and some sort of slapback delay to thicken up my sound at least. With the band Something Ferocious, I’m running a TC Electronics Polytune, RYRA Treble Boost, Xotic EP Booster, a wah, a buffer and an MXR Carbon Copy Deluxe. If I’m playing guitar for Briana & the Fates (I’ll bounce between bass/guitar depending on the players we have at the time), I’m running a tuner, Magnetic Effects Double Feature, Modified Tube Screamer, Malekko Spring Chicken and an MXR Carbon Copy Deluxe. Certain projects I have played in have been heavily pedal based. With the Black Marquee, I was playing bass live and had a pedal board that put most guitar player’s boards to shame. We ran a lot of fuzz pedals live and I needed to cover different frequency spectrums for different songs. In order to not muddy up the live mix, I would use different fuzz boxes, dirt boxes, micro synth, EQ pedals etc. Now the Black Marquee was a pretty extreme example, and on the other end of the spectrum when playing bass in Briana & the Fates, I’m simply running a tuner, a D.I., and that’s it.

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Author: Leigh Fuge