When this baby landed in my Inbox, my first thoughts on first play were, where do I know this from, trawling the memory banks I’d actually caught them twice live, once with Dreadzone in Bristol and again at the Reading festival in 2000,  my overriding memory was what am I watching!!!!! At the time they were so far out on a limb from what I was actually listening to it was surreal. I mean imagine Breakbeats, Hip Hop, heavy Dub all underpinned with an obvious Bangra influence. I think it showed how different they actually were, they toured with Radiohead on the Hail to the Thief tour.


Now from those jarring live memories listening to Rafi’s Revenge I can appreciate what they were trying to do and how seamlessly those influences blend together, still giving you something that is still out on its own and something that probably can’t be imitated.

Remember this LP and band were quoted in NME Upon original release as “the most important band in Britain”  as did the Sunday Times calling them “ the most exciting band in Britain right now, whatever the context”, while the Melody Maker said discovering  Rafi’s Revenge is like  finding ice-cold vain in the middle of the Kalahari. No not just good, fucking brilliant”.


The great thing is that even now I think those words still hold up and these guys blew the doors wide open for musical exploration and innovation, the cultural melting point for music is huge and when it all comes together cannot help but influence.


Rafi’s Revenge originally peaked at number 20 on the UK Albums Chart and was shortlisted for the 1998 Mercury Music Prize, with Bobby Gillespie hailing them at the time as ‘the best live act in Britain’. I think that’s the enuff said moment. Check it out for your self, see if you call out the bands that they ended up influencing.


But this re-issue of Rafi’s Revenge, coming out as a double CD or Double white vinyl LP has a hidden pleasure a second LP called Under the Influence a selection of tracks from Adrian Sherwood put together from Rare, unissued and re-mastered tracks. This LP has to be heard to be believed and runs the original release close and makes you wonder why its taken so long to step out of the vaults, the heavy Dub bass lines, the Indian influence within the guitar, all drag you in to the samples which conjure up images of the Orb and any number of “pioneers”, who all drew down from the Adrian Sherwood Pallette.


This is a seriously good double pack, whether you are a fan, looking to see how the music holds up, or someone who’s heard the name in passing in connection to something else, you need to own this. It’s rare to say but the music hasn’t aged at all and in fact in a Pre-Brexit Britain, the modern cultural identity about to be ravaged beyond belief we need to listen to bands like Asian Dub Foundation to remind ourselves what we’re going to lose. As Relevant now as when it was first released, simply stunning.

Buy Rafi’s Revenge Here

Author: Nev Brooks


Camden Rock Festival is proud to announce a further sixty bands for the 2019 edition, including The Pigeon Detectives, scheduled to perform on Saturday. Hailing from Yorkshire, the all-English quartet has established itself amongst the country’s best Indie bands. From their platinum-selling debut album “Wait For Me” to the deeper and more reflective fifth record “Broken Glances”, The Pigeon Detectives have the catalogue and the experience to deliver a show to be remembered.

Also announced are English reggae-influenced punk rockers The Ruts DC, celebrating the 40th anniversary of debut album “The Crack”; critics’ favourite metal-core four-piece Glamour Of The Kill, singer-songwriter Sean McGowan, anthemic pop-rock Londoners Luna Bay; acoustic-duoUndead Raisins (Andy & Colin from Hundred Reasons); and more.

Lineup & Tickets: Here

What could possibly top a week off work, well I tell you the arrival of the latest Delta 88 album certainly did.

‘Firefly’ is the second release from rocking trio Delta 88. The band are: Simon Clews guitar, vocals, Nikki Clews drums, vocals and Julian wood on the upright bass.

The album kicks off with the track ‘Cherry pie until I die’ which has a classic rockabilly sound and instantly gets the listener wanting more with great vocals by Simon.

On ‘Damsel In Distress’ Nikki takes over on lead vocals and does a great job on this earworm of a track. always a bonus when a band has more than one really strong vocal.

‘Massachusetts Firefly’ is a track which is a bit more laid back,  with a country element running through it and adds another texture to the bands sound.

Another standout is the track Patient Man’ which as the song goes along picks up the pace and really gets the listener’s foot tapping along.

‘Panther In The Night’ has a slightly bluesy feel to it and keeps the quality of the album at a high. as the band show there no one trick pony. ‘Please Don’t Send Me Home’ closes the album out and is again a top quality rockabilly number.

Firefly is an impressive album with great playing from all three band members. Once around the block is never enough and this one makes me want to press play and start it all over again and another quality release from the The Western Star Recording Company that seems to be my go-to label for all things stand up bass and quality tunes. Proving you don’t need to be born in Nashville to make great Rockabilly records.

Buy ‘Firefly’ Here

Western Star Records

Author: Gareth ‘Mutton Chops’ Hooper

I first encountered Polish trio Fertile Hump in 2018 at Kabinet Muz, one of the best small live venues in Brno. And it would be here that I would catch them again, this time with touring partners Gulag Beach. Following the headliners’ previous show in Brno, I was so impressed by their energy and charm that I snapped up the vinyl of their first album, the fantastic Dead Heart. With the second album, Kiss Kiss or Bang Bang released later in 2018, the band have gone from strength to strength.

With proposed support band the Kinkies failing to appear through illness, it’s up to Gulag Beach to warm up the stage. Hailing from Berlin, and coming to Brno with their own sharp brand of punk rock, Gulag Beach have their work cut out on a quiet Thursday night here. Opening to a decidedly calm room, the punchy drive of Gulag Beach does well to gradually whip up a decent atmosphere. They run delightfully through a quick set of songs including Potato Mash Bash and Can’t Stand K-Pop, entertaining the crowd in lively fashion. A good set all round from the support tonight.

The crowd are quiet again when Fertile Hump take to the stage. This doesn’t affect their game, however, and they are as fun and magical as previously, quickly whipping up a charged room with their simple but particular style of bluesy, garage rock. The interplay between Magda and Tomek at the front of the stage is both dynamic and amusing, with Tomek declaring that ‘being a couple in a band is a fucking nightmare’. On stage at least they are a delight. Magda’s soulful voice and Tomek’s loose guitar play is backed up superbly by Maciek’s driving drums. The band draws on music from their two albums and the 2015 EP (which I picked up this evening), and their energy is infectious.

With their real stripped-down sound, Fertile Hump once again delivers the goods with an honest and intense performance of impassioned blues rock ‘n’ roll. I’m already looking forward to the next time.


Author: Craggy Collyde

On their essential new album, THE QUIREBOYS amazed themselves. “The new music has surpassed all of expectations” admitted long-term guitarist Guy Griffin. “It’s the most diverse album we’ve ever done” added fellow six-stringer Paul Guerin. And for a band celebrating its 35th Anniversary in 2019 that’s saying something.

Amazing Disgrace is the sixth Quireboys’ album in seven years but quality over quantity remains the mantra. Eleven typically frank and familiarly evocative rock and roll classics soundtrack a band at the peak of its creative powers. The new album will be released digital on April 5th and physical on April 19th via Off Yer Rocka Recordigs / Cargo Records UK.


You can never get too much class rock’n’roll and I was lucky enough to pick up another great album from the Western Star Recording Company. The album I got my hands on was the latest release from Little Lesley and The Bloodshots titled Heartbeat.

The Bloodshots are a rockin’ Three piece consisting of Lesley on bass, husband Brian on guitar and Bobby on drums hailing from upstate Carolina New York City. Its Roots Rockabilly is what they do and they do it well.

The album starts off with the Rock’n’ Roll stomp of the title track ‘Heartbeat’ which grabs the listener with Lesley’s great vocals, and the excellent rhythm section of Brian and Bobby.

Up next is the track ‘I’m sorry’ which has a slightly more R’N’B feel which really makes the track stand out whereas 

‘Fool for your love’  is a track which adds a bluesy touch mixed with rockabilly and reminds me of when Elvis would mix blues with Rock’n’ Roll. With the song ‘Spell my name’ we have a great old style country sounding track which yet again adds another element to the bands sound so they have plenty of variety and its not just one style and one pace.

‘You don’t fool me’ has some acoustic guitars on the intro before Lesley counts into a rockabilly rocker. On the track “Drive my truck” we hear Brian taking over lead vocals and he does a great job with another great rock’n’roll song and another twist on what they do having two singers in the band is definitely a strength.

Overall this album drips quality and with a great mixture of styles that will captivate the listener on each time you spin the black circle.

Buy Heartbeat Here


author: Gareth ‘Hotshot’ Hooper

The PLANET AXE Tour collective featuring Alice Cooper guitarist Ryan Roxie plus Brandon Gibbs (Devil City Angels), and Joel Kosche (ex-Collective Soul). Other members include Robby Miller (Bass) and Kenny Bailey (Drums,) will embark on their 2nd US tour during the month of April 2019.

Following dates are:

3rd: Rascal’s, Moline, IL
4th: Tailgator’s Live, Cedar Rapids, IA
5th: Mississippi Moon Bar, Dubuque, IA
6th: Roc Haus, West Dundee, IL
7th: Top Fuel Saloon, Braidwood, IL
9th: The Bourbon Hall, Louisville, KY
10th: Rhythm Saloon, Mt Juliet, TN
11th: 37 Main, Buford, GA
13th: The One of Port Richey, New Port Richey, FL

After the PLANET AXE dates, Ryan Roxie will meet up with Alice Cooper and the rest of the Alice Cooper Band for the Domination Festival in Mexico (KissLamb of GodSlash), and then continuing a US tour featuring The Alice Cooper Band and Halestorm.

More dates in Europe/UK to follow. For more information and tour dates go to: https://ryanroxie.com

Way back in the mists of time there were records that got released that a small collection of people went absolutely nuts over much to the bemusement of the rest of the population and still to this day some bands – records are the things of legend and that first Fallen Angels album can certainly be placed into that bracket somewhere near the top if you please.  Sharing the same management and having the stars align meant Knox could have what some (me included) to have the dream team rhythm section helping knock these tunes into shape that would eventually make up The ‘Fallen Angels’ album.  It originally surfaced early 84  after being recorded late 83.  Fallout records released it The band consisted of Knox, Sami Yaffa, Razzle, Nasty Suicide Knox cousin Richard Wernham (The Motors), Michael Monroe and Andy McCoy also guested on the recordings.

The sleeve notes are the same as those used on the CD reissue in 2006 but this RSD exclusive has an extra two tracks to that CD so don’t dismiss this out of hand because those of us who know – know right? Right!

Judging by the sleeve notes it was a bit of a riot recording this and those Hanoi boys had a ball as Sami testifies but lets not gloss over their efforts here because those kids could play and whilst they did like to indulge they were also extremely talented players and Knox knew this and with the rock and roll songs he’d written they would lend themselves perfectly to each other.  From the single ‘Inner Planet Love’ to the ‘Chinese Rocks’ of ‘Rain Rain Rain’ its blistering stuff.

What’s not to love about the snotty ‘Runaround’ and the magnificent ‘Amphetamine Blue’ probably the definitive version right here edging it due to Razzles sense of rhythm and his floor tom rolls having said that how he managed it with Yaffa and Nasty trying to put him off god only knows. The album proper finished with the melancholic ‘Vipers In The Dark’ with its acoustic strum which just about wrapped up an absolute 24 carrot album from the middle of the ’80s make no mistake about that and seeing as its celebrating its 35th year this year why not bring it back for more people to enjoy.

This version pulls in the singles and B sides over the two discs and to complete the set and make this the definitive copy it also has the 12″ version of ‘Inner Planet Love’ and the 7″ version of ‘Amphetamine Blue’ oh and it does come pressed on a couple of lovely coloured records.  Make this one you head straight for on RSD on forever kick yourself its a belter! The biggest shame is the line up never got to play these songs live now that would have been something.

Author: Dom Daley

Website: Here

Before we get into the record I just have to mention the package and seeing it expanded to a double album gatefold is so cool.  I wouldn’t like to get between the ‘So Alone’ V’s ‘Que Sera Sera debate and which is best as to me they were both the best. When they were released they both were exactly what I wanted to hear at the time. Where ‘Que Sera Sera’ had the edge was the more iconic sleeve so much so that I had it on Picture Disc as well as regular jacket version I also bought the reissued version with new notes around ’91 and the CD version with extra tracks and now this one has the benefit of being able to shed some light via extensive sleeve notes from Thunders biographer Nina Antonia and jolly good they are too as well as more material.  With a four-sided 12″ lyric booklet with some awesome pictures thrown in for good measure, this is exceptionally well done and will be well received by the people who love all things Thunders except the few hard to please elitists.


Onto the music, this seems to have benefitted greatly from Pat Collier totally remixing the record and I have to say every second is now far superior if your one of those people who think you can’t ever improve on Thunders originals, well, wait until you hear these.  With a fuller fatter sound a lot of the songs sound fresher and songs like ‘Little Bit Of Whore’ positively roar. It sounds like PAt has opened a window on the 2″ tapes and let the light flood in.  So the tracklist doesn’t follow the original which might take you by surprise when you first drop the needle but that’s no big deal maybe this version has a better flow.


First up on this 2019 version is ‘Alone In A Crowd’ and straight away the guitars sound bigger sure they echo around the room but there is a crispness a bit more bite happening which sounds great. I guess there was no point in this project if you were just merely going to remaster the damn thing and whilst it might seem sacrosanct to meddle with the original mixes it needed to be done even if it went tits up it had to be different and I have to say its a triumph.

On the first side ‘Countdown Love’ and ‘Talk About You’ are the obvious points of interest and whilst Thunders lack of microphone finesse is evident as he pops and booms the mic it sounds great and you do wonder why it never made the final cut. If you think this is a grab all in one place the definitive collection of ‘Que Sera Sera’ then don’t bother because ‘Tie Me Up’  is a noticeable absentee. Anyway, you do get twenty-three songs on this release which isn’t to be sniffed at. ‘Talk About You’ has the guitars right up in the mix its almost as if Thunders were in the room next to me bending those strings as his Gibson barks out the notes.

‘Short Lives’ is lyrically prophetic and benefits from having the fuller sound I’m not sure if I’m looking for things because I know its remixed but the solo sounds fantastic and something that probably would have been buried in reverb had Johnny got his digits on it. ‘I Only Wrote This Song For You’ retains its fragile vocal as Johnny sounds vulnerable I always loved this song when I hear it I often imagine an orchestra with strings on the verses then when Michael Monroe blows the saxophone it sounds like pure heartbreak.  Still brilliant and to follow it up with ‘Cool Operator’ is a masterstroke with that throbbing bass line and then the Sax kicking in and honkin’ with the skankin’ guitar is so Wilco Johnson and something of a much-underrated Thunders tune as the whole band of musicians lock right in and here the percussion sparkles with bells and whistles (ok no Whistles but you get the picture).


If the project was to find the definitive recording called ‘Que Sera Sera’ then I have to say its job done.  God bless modern technology eh? Being able to revisit the 2″ tapes and remix them has breathed new life into a record that has stood the test of time and having being given something of a kiss of life sounds brilliant.  It’s the little things that reach out and touch you like the soft bass runs on the title track or hearing a solo that’s been raised in the mix or just hearing more guitars but not in a spinal tap way this has really hit the bullseye no question about it.

As for the Extra time LP, disc two is where some rather fine and dandy outtakes and live recordings live for example ‘Copy Cat’ kicks things off one of the new tracks is the bass-heavy slice of Funk ‘n’ Roll ‘Taking You Up Avenue D’ sure its unfinished and something of a song in progress but there is some mean Saxophone courtesy of Monroe that’s well worth its inclusion. As is the outtake of ‘I Only Wrote’ where Johnny fucks up the melody and its done. Then a less funky more guitar-heavy version of ‘Cool Operator’ that is listed as the first version.

As for the live material recorded in Lyon, it’s a great sounding performance Johnnys voice is high in the mix and has ‘Countdown Love’ with the band sounding tight even if the songs sound more restrained than plenty of the bootlegs out there but its a great sounding recording. ‘Alone In A Crowd’ is like an avalanche of Guitars and ‘It’s Alright’ is a really cool Rock ‘n’ Rolling birth of ‘Blame It On Mom’ that makes it fanboy fodder and a must have item. The only shame is its only five tracks maybe next year we can have the full set released hey who knows I wouldn’t complain its what makes RSD worthwhile in my humble opinion.


So there you have it a new improved package of an iconic album that doesn’t get regarded as highly as maybe some of his other do but maybe now the time has come for some reassessment now can anyone shed any light on why ‘Tie Me Up’ is missing?  Anyone? Hello? oh well Que Sera Sera.



Author: Dom Daley