The Replacements announce new 60 track Boxset

The Replacements announce new 60 track Boxset
Dead Man’s Pop features live material, a studio session with Tom Waits, and their 1989 album “mixed as it was originally intended”

The Replacements have announced ‘Dead Man’s Pop’, a new box set centered on their 1989 album ‘Don’t Tell a Soul’. The 60-track collection is made up of four CDs and one vinyl LP, featuring the full album “mixed as it was originally intended” along with previously unreleased studio material—including a session with Tom Waits—and live recordings. The box set is packaged in a hardcover book featuring rare photos and an essay by Bob Mehr, author of the 2015 biography Trouble Boys: The True Story of the Replacements. Dead Man’s Pop is out September 27 via Rhino. Check out the artwork below.

THE HOLD STEADY SHARE NEW SONG, “YOU DID GOOD KID”

THE HOLD STEADY SHARE NEW SONG, “YOU DID GOOD KID”

THE HOLD STEADY
SHARE NEW SONG, “YOU DID GOOD KID”

NEW ALBUM, “THRASHING THRU THE PASSION”, OUT AUGUST 16

LISTEN TO “YOU DID GOOD KID”

“THRASHING THRU THE PASSION” PAIRS FIVE BRAND NEW SONGS
ALONGSIDE FIVE DIGITALLY RELEASED BETWEEN
NOVEMBER 2017 AND MARCH 2019

ALBUM PRE-ORDERS AVAILABLE NOW

 

The Hold Steady have released a new song, “You Did Good Kid,” the second new one from Thrashing Thru The Passion, and can be downloaded with album pre-orders. Thrashing Thru The Passion is the band’s seventh studio album and is out August 16 on Frenchkiss Records. Fans can receive access to exclusive album bundles, including such extras as a poster, lithograph and enamel pin set. All album pre-orders will come with a free download of “You Did Good Kid” as well as the first song “Denver Haircut.” Both songs are available now at all DSPs.

“‘You Did Good Kid’ is the first song we worked on for this session, and remains a favourite,” says Craig Finn. “It went though a few iterations before we came to this arrangement, and I’m really psyched on it. It feels great to play live.”

LISTEN TO “YOU DID GOOD KID”

LISTEN TO “DENVER HAIRCUT”

PRE-ORDER THRASHING THRU THE PASSION

Thrashing Thru The Passion collects five new songs recorded this year alongside five acclaimed ones released digitally between November 2017 and March 2019. The album was recorded at The Isokon in Woodstock, NY with producer Josh Kaufman and engineer D. James Goodwin. Additional performers include Stuart Bogie, Dave Nelson, Jordan McLean and Michael Leonhart on horns and Annie Nero on backup vocals.

The Hold Steady will celebrate Thrashing Thru The Passion with “Constructive Summer 2019,” a series of live show weekends across the United States. These weekends take place in Seattle, WA’s The Crocodile (August 15-17), Chicago, IL’s Thalia Hall and Empty Bottle (August 22-24), Nashville, TN’s Basement East (September 5-7), Boston, MA’s The Sinclair (September 12-15), and the fourth annual “Massive Nights” event at NY’s Brooklyn Bowl (December 4-7). For complete details and ticket information, please visit www.theholdsteady.net/#shows.

The Hold Steady is: Bobby Drake (drums), Craig Finn (vocals), Tad Kubler (guitar, vocals), Franz Nicolay (keyboards), Galen Polivka (bass), and Steve Selvidge (guitar, vocals).

THE HOLD STEADY LIVE SHOWS 2019

AUGUST

15-17 – Seattle, WA – The Crocodile
22 – Chicago, IL – Thalia Hall
23 – Chicago, IL – Empty Bottle – SOLD OUT
24 – Chicago, IL – Thalia Hall – SOLD OUT

SEPTEMBER

5-7 – Nashville, TN – Basement East
12-15 – Boston, VA – The Sinclair

DECEMBER

4-7 – Brooklyn, NY – Brooklyn Bowl – (December 7 SOLD OUT)

Pretty Vicious – ‘Beauty Of Youth’ (Big Machine Records/John Varvatos Records)

Pretty Vicious – ‘Beauty Of Youth’ (Big Machine Records/John Varvatos Records)

You would have had to have been living under a pretty big rock these past five years or so not to have heard the name Pretty Vicious mentioned in music circles. The Merthyr four-piece were hailed as the “next Oasis” by many websites/magazines and inked a silly money major label deal after what was literally just a handful of gigs.

Whilst a few of my close mates experienced that early buzz first-hand and rejoiced in seeing a local band once again looking set to make it big I deliberately stayed away purely because with a band as young as Pretty Vicious (they were all in their mid-teens when signing their initial deal) it all felt a touch too voyeuristic, and you only have to look at what subsequently happened to The Strypes to see how badly it can all go for a young band if they don’t shift the units their label wants them to.

So here we are in 2019 and now devoid of that original record deal with Virgin /EMI Pretty Vicious currently find themselves doing low key interviews to promote ‘Beauty Of Youth’ minus their singer as he has had to step away from the spotlight due to a personal tragedy that almost cost him his sanity. Their long-awaited debut is now being released through Big Machine Records a label based in Nashville that normally specialises in Country music so with all this going on this just suddenly felt like the right point in time for me to fully experience what Pretty Vicious are all about.

Granted it’s not exactly my first time hearing the band as I did dip my toe in the water with some of their early singles and whilst they were okay they didn’t exactly blow me away either, so what ‘Beauty of Youth’ is is my first chance to sit down and fully immerse myself in the band’s sound, a sound that has now had 5 whole years to develop and mature.

Well, the “next Oasis” label afforded Pretty Vicious early doors I can certainly pick up on during opener ‘These Four Walls’ and there’s more than one occasion during the album’s dozen tracks that I get the sense that the pressure must have really been on the young lads to write arena-filling tunes at all costs. ‘No One Understands’ for example certainly has that early Stereophonics Valleys lad bowl (as in strut) about it, whilst album closer ‘Little Molly’ is the anthemic lighters (or should I say phones) in the air tune that all albums of this ilk see as mandatory. BUT and this is a huge BUT its when Pretty Vicious break out of musical trappings of what is expected of them that they truly shine, in particular, singer Brad Griffiths who sounds not unlike a curious hybrid of Axl Rose and 70s Ozzy Osbourne during tracks like ‘Are You Entertained?’ and the brilliant ‘Someone Like You’. Indie music this most definitely is not folks, and the production from Dan Austin (You Me At Six, Twin Atlantic, Pulled Apart By Horses) certainly helps the boys push the attitude (and guitars) to the fore.

Elsewhere ‘Something Worthwhile’ kind of reminds me of 90s rockers Cast albeit with a turbo booster shoved up their arses, ‘Move’ has an almost Gary Holton goes grunge feel to it and the back to back pairing of ‘Force Of Nature’ (Oasis drum fill in the intro aside) and ‘Lost In Lust’ could very easily be Smashing Pumpkins at their very peak.

With all that is going on musically in the dozen songs that make up ‘Beauty Of Youth’ the future should really be looking bright for Pretty Vicious, but with Brad side-lined and dealing with his personal demons I applaud his bandmates for sticking by him as there is no way success should come before a mate’s own wellbeing. “It’s just a game” after all, as Brad sings during ‘Playing With Guns’. I just hope he gets himself sorted and that the band can then fully capitalise on this absolute stonker of a debut album. In their own time though as they still have the real beauty of youth very much on their side.

Buy ‘Beauty Of Youth’ Here

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Matt Dudzik – Poison Boys Interview

Matt Dudzik – Poison Boys Interview
One of the best debut albums I’ve heard in quite some time happens to be ‘Out Of My Head’ it’s jam-packed with influences ranging from the good to the greats and the passion and energy poured into every groove of the LP is evident to the listener.  I tapped Matt up for an interview with RPM and he was happy to oblige.  If you’re lucky enough to have the band roll into a town near you I suggest you cancel whatever it is you’re doing and get down to the Rock and Roll show.  But hey check em out then support them and Dead Beat Records because we need more bands like this making music on labels like that.  So lets cut the crap and get down to the chatter that mattered  Ladies and Gents boys and girls  Matt from Poison Boys…
When did the band form and let us know a little about where you grew up and what inspired you guys to pick up an instrument and play Rock and Roll?
I grew up right outside of Chicago in Northwest Indiana, about 1 minute from the border of Illinois. Been obsessed with rock n roll since I was a kid. Me and my friend Mike Lippman had been playing in punk bands together since we were young teenagers and finally decided we wanted to start a rock n roll band. I played drums throughout those years but wanted to play guitar if it was a rnr band so started figuring out Ramones songs and went from there.
Can you remember what the first songs you wrote as a band was?  
Mike and I collaborated on nearly all of the early songs, he’d write riffs or I would, and I’d write vocals and he’d help me with the lines sometimes. First ones we wrote were Been Here All Night, Out of My Head, Cut Right Out, Bad Mouth, Without You and a couple of others. Unfortunately, Mike passed away before we could complete a lot of other songs which I ended up finishing later like Headed for Disaster, Got to Tease, and Up to the Sky among others. We always wanted it to be a well rounded rock n roll group, not just one specific sound the whole record or anything. But not to stray too far outside of the rock n roll spectrum.
You’ve released a couple of singles before the album came along with the first two being on the excellent UK label no front teeth.  How did that come about?  How did a label out of London pick up some guys in Chicago?  Is the line up stable now? your almost in Spinal Tap territory for past members already 
I found out about No Front Teeth from reading a PORK magazine and either seeing an NFT ad or a record review with NFT as the label it was released on. Just emailed Marco and he was super down to help us get our first (and second) 7″ out. Really I could not find any snotty punk labels in the states at all. Even now I only know of like 2 or 3 and that’s it. And if they aren’t interested or are too busy or whatever you turn to labels elsewhere that’s all.
As for the lineup… When people don’t wanna play rock n roll anymore or move out of state what do you do? The band hasn’t been around long enough to make much of an impression with anyone lineup, hasn’t had an LP or anything out prior to now so it didn’t matter to me. Granted I don’t exactly enjoy having members flake out or whatever but it is what it is. We’ve had a pretty solid lineup for about a year and a half or so with Matt “Chainz/the Chainblaster” Chaney on drums and Steve  “Stevsie/Stevie Poison” Elfinger on bass at home/guitar on the road, and touring members Nico Bones on bass and Julius Lange on guitar. It’s been pretty killer getting to know and hang with all of them.
The first single was back in 2016 then ’17 then you got White Zoo to release the last one last year.  Had you already signed up to dead beat to do the album by then?  How come you switched for the album? 
Dead Beat came about through me asking them earlier this year if they’d be interested in releasing the LP. They were very stoked especially after hearing the record, so we just had to finish up art and final mastering for it and it was a go. The 7″s were released on the other side of the pond, we were just looking for somewhere closer to get the records released by and knew Dead Beat had put out records by some of our favorite newer rock n roll bands.
Is there a chance of a European release for the record?  What about touring Europe and the UK?
We’d love for it to be released by a European label! Haven’t heard anything about that yet but time will tell I suppose. We plan to set up a European tour for hopefully next year.
As far as the album goes I was really pleased to hear plenty of influences in there and some choice covers.  Obviously, I have to ask why those covers? (apart from them being great songs) 
Well, I was listening to a Beatles singles comp called ‘Past Masters’ and heard a banging rocker called ‘Slow Down’. Knew it had to be a cover and found out Larry Williams was the original and sounded killer!! I figured we could pull it off and should give it a go. It delivers well live so we figured it’d be a good way to help open up the album and add more bitchin’ piano to it which we love big time. As for the Dead Boys cover… that one’s always been relatable to me and it fits with our style really well I think. It’s, of course, a tribute to them and our influences getting into punk at an early age.
I love the album and think it’s one of the best debut albums I’ve heard in an age and the attitude in the songs is superb – really authentic sounding. Is there a plan to tour then record some more? are you someone who writes all the time? 
Thanks man I really appreciate it. We worked hard on these songs and it’s good to finally let them have their day. Really nice to hear that people like them. We’re leaving for our “Out of My Head” East Coast/Canada Tour 2019 this week and beginning recording for our 2nd LP this week as well. Plenty still on the horizon for the Poison Boys. I write all the time even if it’s just little pieces and put them together as I go. Show ’em to the guys and get opinions and we work em out from there.
How has the reception been at the live shows?  How would you describe the scene over there in Chicago? is there much of an appetite for real rock and roll?
The live shows are killer and what we love the most. People seem to love it too and get down to our set so that’s cool. I think people need this type of rock n roll but just aren’t getting it much from bands these days. Not a lot of people go to rock n roll shows around here anymore unless it’s the Stones or KISS or something. A lot of bands around here either play washed out reverb’d out psychedelic shit or shoegaze or grunge or a mixture of all that. There’s like 3 bands in Chicago that don’t do that. As with many bands, the reception on the road is way greater than at home.
There seem to be pockets of superb music coming out of America right now – any chance you cats hooking u with bands like Wyldlife, Ravagers and The Sweet Things and stealing over here for a package tour?  Are there any bands you hear about currently tickling your fancy so to speak?
We generally like touring alone but are open to whatever if the situation’s right. One of our first shows ever was in Indianapolis in 2014 opening for Wyldlife. Alex from Ravagers does a lot of our artwork and we have a gig with our boys the Sweet Things coming up at Coney Island Baby in Manhattan in a couple weeks, Friday 8/02. Yeah favorite bands going on right now in the states are mostly in California, like Black Mambas, the Crazy Squeeze, the Flytraps, Dr. Boogie (although they just broke up), and also bands like Terry and Louie, our boys Jonesy from Montreal, the Rubs, our buds Big Blood from out here, stuff like that. And of course the Sweet Things out in NY. There’s a good amount of rock n roll going on elsewhere and I think it’s growing thankfully.
Listening to the album I hear some obvious inspirations from the likes of Dead Boys, Thunders, then I hear classic Stones and Faces – you guys have some of the swagger that made early Guns N Roses shine (tear Me Apart)  and I love the confidence of songs like ‘Up To The Sky’ but you can also mix it up like Hanoi Rocks on songs like ‘Desperado’   it opens up options for you to go in any direction what’s on in the van currently? What are you listening to?
We listen to old protopunk shit like Berlin Brats, Hollywood Brats, Razor Boys, Nervous Eaters, Rockpile, Flamin Groovies, Stooges, all that. A lot of Johnny Thunders and Dolls stuff of course, their solo stuff right after the Dolls broke up too. Hanoi Rocks, Dogs D’Amour. But also stuff like the Nuggets comps and other more obscure comps like the Bonehead Crunchers comps and shit like that. A ton of old punk bands like Menace, the Only Ones, Teenage Head, the Saints, Chelsea, Testors, Slaughter and the Dogs, Gen X… Then Mott the Hoople for 24 hours straight, Lou Reed, Kiss, T Rex, Motorhead, the Faces, Stones. All the goods all the time. Oh yeah and the RAMONES.
If there is anything you guys need to get off your chests here’s your chance.  Anything you’d like to add?
Come see us on tour!!! Buy merch, support rock n roll and keep us on the road. If you play rock n roll start a band get a shitty van and a mechanic friend and go tour. Keep this shit alive and growing and spread the love not shit talk and hate. We’re too small of a scene to be separated all the time by trivial cool guy bullshit and life’s too short to waste energy tearing each other down. It ain’t like the old days, we all know that… Rock n roll is so unimportant to modern society and we’re all we have left. We’re all in this together. Be inclusive there’s no room for hate against each other.
Buy The Album Here or coloured vinyl Here

Fantasm Media Releases The Official KISS Poster Book #2

Fantasm Media Releases The Official KISS Poster Book #2
New edition offers 6 pull-out posters, exclusive interviews, extensive “End Of The Road” tour photo gallery, and a completely new collectible KISS card set
With an epic 45-year career that changed music and entertainment forever, KISS will be hanging up their touring boots at the conclusion of the current multi-year “End Of The Road” tour. To celebrate their legacy, Texas-based publisher Fantasm Media has teamed up with the rock icons again to release The Official KISS Poster Book #2. For die-hard KISS fans, collectors and completists, the second issue brings the current bombastic stage show to life and celebrates their amazing past. This issue is packed with 6 giant pull-out posters featuring the current band members onstage doing what they do best, as well as classic era shots. It’s also loaded with articles, interviews, and photos covering both the current and classic incarnations of the band.

“We’re absolutely thrilled to continue working with KISS,” says Publisher/Editor-in-Chief Brian Steward. “As a lifelong KISS fan and collector, I approach creating The Official KISS Poster Book from the perspective of, ‘What would I want to see as a fan?’ That’s what’s most important.” And one thing KISS fans definitely do is collect. To meet that collector need, Fantasm Media is offering six alternate covers, each featuring different images not only on the front but also the back.
As with issue #1, this issue of The Official KISS Poster Book features exclusive interviews and a completely new collectible KISS card set. Fans also get an extensive “End Of The Road” photo gallery. Featured interviews include director Adam Rifkin on the 20th anniversary of the KISS film, Detroit Rock City; Jim Neff on how he helped orchestrate the historic 1975 appearance of KISS in Cadillac, Michigan; and David Pea on designing Sammy the Serpent and Gene’s current Demon costume.

The Official KISS Poster Book #2 and The Official KISS Poster Book #1 and the two issues of The Official KISS Magazine are available exclusively at Fantasm-Media.com. The next issue of The Official KISS Poster Book will be released later this year and will be accompanied by yet another original KISS card set.

The Bar Stool Preachers – ‘High Horse’ Video

The Bar Stool Preachers – ‘High Horse’ Video

With the new video in the can and doing the rounds, The Bar Stool Preachers are continuing their never-ending tour schedule for the brilliant ‘Grazie Governo’ and RPM highly recommends you catch them at one or more of these dates.

 

 

 

August 2019

1st BLACKPOOL, UK – Rebellion Festival, Winter Gardens
1st BLACKPOOL, UK – Rebellion Festival, Winter Gardens
4th COMPTON MARTIN, UK – Outcider Festival, Fernhill Farm

Bouncing Souls + The Bronx + THE BAR STOOL PREACHERS

August 2019

9th MONTREAL, QC, Canada – Foufounes Electriques
10th TORONTO, ON, Canada – Phoenix Concert Theatre
11th PITTSBURGH PA, USA – Mr. Smalls Theatre
13th CLEVELAND, OH, USA – Grog Shop
14th DETROIT, MI, USA – Saint Andrews Hall
17th CHICAGO, IL, USA – Metro
18th MINNEAPOLIS, MN, USA – Varsity Theater
19th MILWAUKEE, WI – X-Ray Arcade

THE BAR STOOL PREACHERS + The Raging Nathans

20th DAYTON, OH – Blind Bob‘s
21st LANCASTER, PA – American Bar & Grill
22nd ASBURY PARK, NJ – Asbury Park Brewery
23rd ALLSTON, MA – O‘Brien‘s
24th DOVER, NH – Brickhouse

THE BAR STOOL PREACHERS

September 2019

13th KINGSTON, UK – Fighting Cocks
14th DERBY, UK – Hairy Dog
15th MANCHESTER, UK – Star ’N Garter
16th LEEDS, UK – Brudenell Club
17th NEWCASTLE, UK – Trillians
18th GLASGOW, UK – Stereo Cafe
19th CARLISLE, UK – Brickyard
20th BLACKPOOL, UK – Waterloo Bar
21st CARDIFF, UK – Club Ifor Bach
22nd ILSON, UK – Latch Lifter (ALL AGES)

Ticket details for all shows are Here

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New Model Army – ‘Never Arriving’ video

New Model Army – ‘Never Arriving’ video

Brand new video released from the forthcoming brand new album. ‘From Here’

Pre-order Here

The track follows the release of recent single ‘End Of Days’, both of which feature on From Here. The album was recorded earlier this year on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment, yet has profound messages for the world we all live in and the times we are experiencing. For a taste of the music and the environment in which it was recorded, click here. The album will be released on August 23rd via earMUSIC ahead of a major UK & European tour later this year. From Here will be available as a CD Hardcover Media Book, Double 180g-Vinyl Gatefold and Digital and can be pre-ordered here: https://earmusic.lnk.to/NewModelArmy_… A Strictly Limited 2LP Splattered Vinyl-Edition, a Limited 7” Vinyl Single and various bundles will be available via an exclusive direct to consumer web shop: https://newmodelarmy.tmstor.es

KISS – End of the Road World Tour – Birmingham Arena 9/07/2019

KISS – End of the Road World Tour – Birmingham Arena 9/07/2019

It’s without a doubt KISS has become something of a worldwide rock’n’roll phenomenon. Since their initial inception in ‘73, they’ve racked up a sizeable amount of miles on the road, albums, and tours, spanning the length of the globe. I’ve been raised listening to this band and had the pleasure of watching them perform on numerous other tours over the years. This, however, seems to be the end of the road for them, hence the name of the tour I suppose… (Well supposedly… I mean look at Ozzy and Priest for example)

 

The evening started out not with a warm-up band, but a performance by David Garibaldi, an American painter. I have to say, it was really refreshing and different to see an opening act performing something totally different, and out-of-the-box instead of the usual warm-up band line-up. Garibaldi painted three paintings in his half-hour time slot, one of Mick Jagger, and upside-down painting of Freddie Mercury (there was a big gasp when he flipped it around, although all the Queen songs playing while he was painting it sorta gave it away…) Ahem, where was I? Oh! And finally a painting of all the KISS members. The final painting would be ‘put up’ as a prize, where concert-goers could make a donation to a children’s cancer charity. The painting would then be given at random to one lucky donor.

 

KISS took the stage at 21:55 with a blistering two-hour setlist. Everyone was greeted by the usual:

“ALL RIGHT BIRMINGHAM. YOU WANTED THE BEST. YOU GOT THE BEST. THE HOTTEST BAND IN THE WORLD. KISS.”

 

No matter how many times I hear that opening it never gets old. Whether it be on record or in person.

 

Detroit Rock City was first on the setlist, with the band lowering themselves down from the ceiling rafters on platforms. Alas, you’ve gotta expect the usual theatrics when it comes to Kiss shows. I’ve got to say, Paul Stanley and Gene Simmons are getting on a bit but man they still sound good. Gene especially. Paul can’t really hit the highs he could back in the day but he can still put on a damn good performance. That being said, instrumentally, they were totally flawless. I guess that’s what you get for playing your music for this long, eh? Tommy Thayer and Eric Singer returning as the Spaceman and the Catman respectively also performed to the absolute top tier.

 

Kiss classics old and new were on the setlist. The likes of ‘Cold Gin’, ‘God of Thunder’, ‘Deuce’, ‘Lick it Up’, ‘I Was Made for Lovin’ You’ were all present at this show. (Unfortunately so was ‘Crazy Crazy Nights’, if you like that song, more power to you but I can’t say I’m a fan sorry.) all the usual theatrics were present too. Gene spat some fire, Flew up and played a bass solo while spitting blood, the usual good stuff. Plenty of pyros and fireworks too.

The real curveball for me was Eric Singer rising from below the stage sporting a grand piano for the encore. I didn’t expect to hear Beth on this farewell tour but goddamn, I sang my heart out. Of course Rock and Roll All Nite was the grand finalé, let’s be honest you wouldn’t expect to leave a Kiss show on any other song. Looking back, all in all, it was probably the best Kiss show I’ve been too. Knowing they went out on such a high note (maybe, we’ll see) really added to the experience.

Author: Adam Hathaway

The Liza Colby Sound ‘Object to Impossible Destination’ (Oh Baby Productions)

The Liza Colby Sound ‘Object to Impossible Destination’ (Oh Baby Productions)

I became aware of Liza Colby through the Sweet Things where she has provided backing vocals for them in the live setting at times. It became quickly apparent that she might be an artist to watch so I started picking up some past singles and EPs that were okay but never kept me coming back for a lot of listens. Still, there has always been something there that told me I would be rewarded in time as she continued to develop her sound. I would consider this her full-length debut at a compact 8 songs that recall the albums of the ’70s, and this is the best music she has released to my ears. Her approach here should also cross over several genres as the artists that come to mind are a diverse bunch. She brings in a lot of rock, a little psychedelic, soul, blues, and other elements to carve out an album that deserves to be heard and played many times. Every year, there are albums that kind of simmer beneath the surface, and, over the course of the next few years, I realize that they are still getting played regularly. I can see this album in that role.

‘Cool Hand’ powers out of the box to start the album with a distorted bass (Alec Morton) and drums (C.P. Roth) segueing into a restrained verse where Colby sings somewhat softly and flexes her vocals with the return of the distortion. The way the music is recorded I am at times reminded of the likes of Kyuss and other desert rock bands but with a more commercial touch. The chorus here is not my favorite on the album as it can feel too repetitive. A cool drum pattern introduces ‘Creep On’ where the bass and guitar (Jay Shepard) both creep into the song. The swirling distorted guitar and bass riff are phenomenal together. The hard bluesy groove brings in another simple chorus lyrically, but this one works much better form me as it slithers in and out of the music. The guitar solo provides an air guitar option but also the ability to just close your eyes and lose yourself in the sound.

With ‘Try Me,’ the band turn up the tempo with the groove leading to some great drum fills and a great chorus. The mix here allows the entire band to be heard and comes straight from the ’70s with a jolt of adrenalin added to pick up the pace. The first half of the album comes to a close with the rocking ‘Young Girl.’ It feels like it could go off on a 10-minute jam at any time; it doesn’t hit the heights of the two previous songs but does provide a satisfying close to the first half of the album. My favorite part of the song is where everything breaks down for the bridge which gets some time to truly lull the listener closer to the speaker before kicking it back up for the finish.

Side 2 begins with the sultry blues of ‘Shake You’ which is dominated by Colby’s vocals. The inflections of the guitar provide nice texture with the eventual peak releasing into a guitar solo that is spot on the money. The crescendo then falls back for another gradual build and satisfying close. The rumbling rock of ‘Eye On You’ gives the band an aggressive song that still maintains a lot of softer touches even when Colby tells us she has “always been an Alpha.” The chorus hits some commercial heights where its huge hook and backing vocals release a steel trap on you. This has been one that has battled to be my favorite from the album.

Heading to the finale, ‘Oh Baby’ continues the hot streak with some simmering blues-rock that might be the best performance Colby has put on a recording to this point in her career. This is the one that gets the hair on the arm to stand during the verses. I love the guitar riff that comes to the surface each time the song builds in intensity. With many of the songs here exceeding five minutes, this is a great album to just get lost in when it plays. I could see the Big Brother Holding Company coming up with something like this, especially when Colby holds that last note. ‘Zero to Freakout’ provides another platform for the bass to be the dominant musical hook during the verses and sets up the burning guitar riffs. The chorus carries the song to another level and is the best on the album for me. At six minutes, this epic has several passages that make it a masterpiece, and I would hope this is also the live closer for the current live shows.

At eight songs, this could have felt lean as an album but instead really hits like the quality albums we used to get back in the day before people decided that every inch of tape on a cassette or space on a CD needed to be filled. This album does something truly remarkable in today’s day and age in that it gets stronger as it goes. I would say the back half of the album sets an incredibly high standard, and, while I don’t think the first half is as good, it still has plenty of highlights. Colby and the band have assembled an album that can appeal to a variety of crowds and musical genres. You may not get it on your first listen but the music and hooks will infiltrate your soul and compel you to play this album for a long time to come.

‘Object to Impossible Destination’ is available now.

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Author: Gerald Stansbury

 

ROD MELANCON – ‘PINKVILLE’ (Blue Elan Records)

ROD MELANCON – ‘PINKVILLE’ (Blue Elan Records)

The newie from the Southern US songwriter, storyteller and actor is a concept record broadly inspired by the horrors of the Vietnam war and its ongoing impact. Vintage rock’n’roll sound that nods to Tom Petty, The Rolling Stones, Jon Spencer Blues Explosion. 

Like the soundtrack to a movie that doesn’t yet exist, Rod Melancon’s ‘Pinkville; whips up a world filled with shellshocked war veterans, gun-wielding rock & rollers, and other down-on-their-luck characters, mixing cinematic details and electric guitars into its own version of greasy, gothic Americana – Well, that’s what the PR blurb wanted us to believe and to be fair Gothic Americana is a new genre on me.
His songs are indeed dark and his voice which swings from a spoken-word to a croon to a rough-edged howl.  It’s every bit as diverse as the material it delivers. ‘Pinkville’, is his fourth album. You’ve got something approaching psychedelic soul, Traditional Rolling Stones good-time rockers and tributes to the likes of  Tom Petty, and if that’s not enough there is even time for a cover of Bruce Springsteen’s ’57 Channels (And Nothin’ On)’.
‘Pinkville’ draws on personal memories from back home in Louisiana. It was there, that Melancon grew up. During these visits, he’d see this guy who is the central theme for the opening spoken words track that clearly left a mark on Melancon. then to follow it up with a dark bruising number that’s part Alice Cooper part voodoo swamp rocker is a real toe-tapper.
Melancon, uses  Will Walden, as the album’s lead guitarist and co-producer. The son of Emmy-winning composer Snuffy Walden,  In ‘Pinkville’ his tremolo guitar rustles up images of a platoon on patrol, while the Keith Richards-inspired playing of “Westgate” draws on his teenage memories of getting stoned and just being a teen. Its got a similar feel to a lot of the work of John Cougar where he draws on his memories for his subject and sways from Americana to rock and roll and its a really well-constructed song that you just want to nestle near the speaker and let the story wash over you.  The solo is pretty cool on this one as well like he’s riding the volume and trying to soothe the savage feedback and to be fair he succeeds.  ‘Corpus Christi Carwash’ tells the true story of Freddy Fender’s former gig at a car wash, is all 1950s pop ballad with a great traditional progression on the muted chords, while ‘Lord Knows’ gets a groove on like it was still the 1970s.
‘Heartbreakers’ celebrates the influence of Tom Petty — a songwriter who, like Melancon, who came from the South before moving to the city of Angels. He turns his own struggles into a roadhouse rocker with ‘Manic Depression’ a little understated when up against some of the other tracks on the record but all good albums have light and shade. Then to end the record Melancon turns it up during the loud, ‘Cobra’ whilst it’s not racing away more purposeful with the part sung part spoken lyrics again its got light and shade and a decent closing number on an altogether impressive album. A real melting pot of an album to be fair and one I found myself getting lost in and enjoying revisiting it time after time.  If this is Gothic Americana then I’m on board and highly recommend it.  Fill yer boots, my friends,  ‘Pinkville’ was a very pleasant surprise.
Author: Dom Daley