Camden Rocks presents a raft of talent with their all-day Bonanza shows. Camden Rocks Facebook 
November 16th
Khartoum + Slow Mojo + Rhyn + The Ancient Unknown + Poolhouse + Andy John Jones + Lend Me The Twelve + Luca Mo + Burnt Tongues + Passifs
The Monarch, Camden Town, London
November 23rd
Marisa And The Moths + The Kanz + Cryptids + Tevara + Crosslight + The State Thieves
The Monarch, Camden Town, London
November 30th
The Swagger + Playmaker + Lashes + Dirty Falcon + The Groves + Motorcycle Display Team + Pink Mirrors + Syd Sister
The Monarch, Camden Town, London
December 7th
The Kut + Bexatron + Weekend Recovery + A Void + The Brandy Thieves + Empty Friend + Punching Swans + House Of Dirt + Almost Always + Indya
The Monarch, Camden Town, London

With a movie documenting their incredible career and then the release of this their sixteenth Album (if you include the live records) even when they’ve not hit the giddy heights of the early vibrant releases  Agnostic Front have always stayed true to themselves and their scene and always been honest and to be fair have always had absolute stone-cold bangers on their records.

I’ll be honest I’m a massive fan of Mirets records with the disasters they were amazing and Stigma did a couple of great solo albums but as Agnostic Front was where they always excelled. The Godfathers of hardcore are back and with ‘Get Loud!’ they’ve really come out swinging, an in-yer-face record that draws on everything the band have done previously and poured it all into this.

Fourteen songs of Agnostic Front doing what Agnostic Front does,  In your face Hardcore – New York style. They were never going to stray from the blueprint that’s served the band so well through the ’80s and ’90s and beyond.

A name that is synonymous with a scene Agnostic Front are getting the props far and wide, and the way they unravel ‘Get Loud!’ reflects this and soundtracks a scene that’s as good and strong as it ever was.  Forget the opener for a minute seeing as it was the lead track released because I think its the weakest on offer as ‘Anti Social’ and then the title track fuckin’ nail it as far as the crossover punk-metal hybrid goes and is vibrant and exciting. “Its time to get loud!” is about right, its not four to the floor heads down rage like a bastard its measured like a boxer whos taken stock for a couple of rounds and isn’t coming out swinging but taking a measured menacing approach but hold on to your pants because ‘Conquer And Divide’ is coming out swinging.  Old School, fast as fuck, windmilling, gang vocals and a pulverising riff-a-rama that takes you to the edge then the pulverising breakdown.  Agnostic Front flying the middle finger raging on the system and corrupt officialdom – stand in line folks Miret and Stigma are on it!

I’m loving ‘I Remember’ its Miret telling stories of brotherhood and plenty of AF chest-bumping and high fives and Stigma on the replies – A Monster track right there worth the cost of the album and some.  If I ever found myself in a situation on a subway I’d want to hear some AF in my headphones and I’d like to think what would Roger and Vinny do?

The classic AF sound is here in an abundance they don’t sound like they’re trying too hard to please people other than themselves through the entire album, and the songwriting is exceptional, That heaviness is there for sure but it isn’t overwhelming and the attitude comes across louder and more in your face.  I’m enjoying this album more than the last few albums over maybe a decade or more and I know its early on but even the first play this was screaming at me to turn it up and I found myself hitting repeat which I didn’t do on the last two albums for sure. As the album unfolds songs like ‘Urban Decay’ are on fire and their sub-two minutes is vibrant and marry that with some exceptional depths like those bass runs underlying the brutality of the song is excellent. But hold on because ‘Snitches Get Stitches’ is breathtaking  I’m going to gather the kids around so we can Slamdance and have a circle pit in the front room #safespace and I can be the king of the pit without getting rolled.

Putting this up against the bands back catalogue says that this is a band still on the crest of a wave and riding high.  Agnostic Front has made a record in 2019 that is everything as good as any record in their entire catalogue – bold words you might say.  We might live in very different times from when they blew up in a scene on the lower east side in many ways things are better but globally it might be shittier times more dangerous times and the world needs bands like Agnostic Front pushing the boundaries asking questions and showing that brotherhood means something and is worth fighting for, there are thirty-five years poured into this record – thirty-five years of experiences – thirty-five years of owning a scene and often carrying it on their shoulders like a giant amongst other giants.  Agnostic Front Get Loud! is a triumph and any band young (or old) looking to put out a hardcore album needs to hear this because this is how it’s done properly. Never accuse them of giving less than 100% simply because they don’t just Buy It!


Buy ‘Get Loud’ Here

Buy ‘The Godfathers Of Hardcore’ Here


Author: Dom Daley

L.A. GUNS sign to Golden Robot Records.

If there was a band synonymous with the infamous Sunset Strip it is L.A. GUNS. Born into a scene that will never be replicated, L.A. GUNS rode alongside Guns n’ Roses, Ratt, Poison, Quiet Riot and co. in one of the biggest movements in Music history! Golden Robot Records part of the Golden Robot Global Entertainment Group are extremely excited to announce the signing of Hollywood Rock Royalty L.A. GUNS! A new album L.A. GUNS 2020 will be released next year!

The band was formed in 1986 and signed with Polygram Records in 1987, recording their first album that summer. This first album, titled L.A. Guns, went on to sell over 1,000,000 copies giving the band its first platinum award. Tours with AC/DC, Iron Maiden and Def Leppard followed. A compilation of the videos made from this first album also earned the band a gold video award. L.A. Guns went into the studio to record their second album, Cocked and Loaded, in the spring of 1989. It was a hit right away with the release of “Rip and Tear” as the first single and video. “Never Enough” and “The Ballad of Jayne” followed, pushing the album toward platinum status once again. The video compilation from this album earned the band its second gold video award. A successful world tour followed. The band’s third album, Hollywood Vampires, was recorded in the fall of 1990. With the release of “Kiss My Love Goodbye” as the first single and video, and another successful world tour, the album gave L.A. GUNS its third platinum in a row.

Vicious Circle was released in early 1995 and was followed by another successful world tour. In 1999, L.A. Guns went into the studio to record a greatest hits package titled Black Beauties that also included five new songs written for the album. In 2001, the band released its sixth studio album, Man in the Moon and in 2002 their 7th Album Waking The Dead followed.

After a 2003 world tour to support Waking the Dead, L.A. GUNS recorded Rips The Covers Off with producer Andy Johns. This was a collection of 70’s rock songs. L.A. GUNS began work on TALES FROM THE STRIP and it was released in August 2005. It received some stellar reviews and critical acclaim. A live CD, Loud and Dangerous, was released late August 2006 with the band again supporting it with a world tour.

In November 2011 the band signed their latest record deal with Cleopatra Records, releasing their tenth studio album Hollywood Forever in June 2012. The album was produced once again by veteran music producer, Andy Johns. The new record debuted at #25 on the Billboard Rock charts with the title track “Hollywood Forever”, and it was considered one of the best Hard Rock albums of 2012 by fans and critics alike, proving once again that L.A. GUNS were on top of their game with tracks like “You Better Not Love Me” and “Sweet Mystery”.

Now after some down time, the band has been reborn with the return of Kelly Nickels on bass, Steve Riley on drums, Scotty Griffin on guitar and Kurt Frohlich on lead vocals and guitar.

With more than 30 years’ worth of noteworthy material, the band have proved to be true warriors of the 80’s genre and are geared to tear it up across the world giving audiences the high-octane Rock-n-Roll that is L.A. GUNS. Welcome to the Golden Robot Family!

Handsome Dick Manitoba was the leader of the NYC punk group “The Dictators” starting in 1975. The group went through a series of breakups and name changes but always with Manitoba as frontman. This is his first solo release and is backed by a lineup of stellar musicians including P.F. Sloan, Michael Shrieve, Simon Kirke and others. Sloan backs him here on his opus “Eve of Destruction” playing harmonica, guitar and on background vocals.
Available Now via MVD Entertainment Group
He was also an on air DJ on Sirius / XM for 14 years, being recognized by The Village Voice as “Best Satellite Radio DJ” in 2005. Manitoba was also lead singer for MC5 starting in 2005, after the death of lead singer Rob Tyner and remained in that capacity until they disbanded after the death of bassist Michael Davis in 2012.
Manitoba now has a podcast called “You Don’t Know Dick”…and the best is yet to come!

Producer / Co-writer Jon Tiven says:
“We wanted to make a record that was contemporary punk ‘n’ roll with a love for the sound of our early heroes like Wynonie Harris, Bert Berns, and the Beach Boys. I brought in a few of my Nashville friends to play and sing on it—-Buddy Miller, Harry Stinson, Beth Hooker, Shannon Pollard, Chuck Mead, Donte M’Shawn—as well as some old friends to kick the skins Mickey Curry, Mat Reale, Simon Kirke and Mike Shrieve. Our beach song, “Surfside,” was injected with a direct dose of the California Sun by transcendental poet Stephen J. Kalinich, the only lyricist to work with Brian, Carl and Dennis Wilson (as well as Mike Love and Stephen Marks).
I suggested we cut a new version of my pal the late P.F. Sloan’s classic anthem “Eve Of Destruction,” and Handsome Dick was all-in. I even managed to fly in some harmony vocals, harmonica, and acoustic guitar from P.F. himself from some previous sessions I had done with him.
It took us a minute to find the right home for the record, but Arny Schorr stepped up with his Liberation Hall imprint and had all the enthusiasm we needed to see. So this is BORN IN THE BRONX. Germinated in NYC, manifested in Nashville, now available throughout the world… I hope y’all enjoy it!”

The single best thing about a certain internet shopping giant fucking up my recent pre-order for this the eleventh solo by Mark Lanegan and the fifth of those to come with the added “Band” moniker was that when I was chasing up my order I inadvertently got to read the tongue in cheek review on said website by one Ellie Woozle, a long-time fan of Lanegan’s who described ‘Somebody’s Knocking’ as sounding like an album of Erasure covers performed by Lee Marvin.
This really tickled me simply because whilst it might be an oversimplification of the 14 tracks contained here (after a few listens) it really isn’t that far off the mark when it comes to the super funky electro-pop of ‘Penthouse High’.
Elsewhere though the sound is much more in keeping with the Band evolution which Lanegan has been working on with musician-producer Alain Johannes ever since 2004’s excellent ‘Bubblegum’ album.
There’s the goth rock overtones of 2017’s ‘Gargoyle’ album returning right from the off with the frantic (well by Lanegan’s standard anyway) ‘Disbelief Suspension’ a track that sounds not unlike Lanegan has taken over the role of Lux Interior for one night (or song) only. Meanwhile the tracks that follow like ‘Letter Never Sent’, ‘Night Flight To Kabul’, ‘Dark Disco Jag’ and ‘Gazing From The Shore’ all could have easily fallen off peak period albums by Joy Division, The Cure, Killing Joke and The Cult, however most importantly here the choruses of these songs tower over anything Lanegan has done since that aforementioned ‘Bubblegum’ opus.
Fans of the more melancholic side of Lanegan will revel in the almost New Order goes dubstep feel of ‘Play Nero’ whilst ‘Paper Hat’ is the first time a guitar features as the main instrument on ‘Somebody’s Knocking’ and is the type of dark lullaby Mark has been wowing audiences with since he left Queens Of The Stone Age.
‘Name And Number’ and ‘Radio Silence’ get the Krautrock influence quota back on track whilst ‘War Horse’ is an understated rap delivered as only Lanegan could and in ‘Stitch It Up’ and ‘She Loved You’ the big man is surely just a club remix away from filling dancefloors worldwide.
I can’t say I’m a fan of album closer ‘Two Bells Ringing At Once’ as this track once again strays a little too close to the dour sound of latter-day U2, but that aside ‘Somebody’s Knocking’ is a huge celebration of positivity and is certainly the crooner’s most upbeat record to date.
They say good things come to those who wait, well the 2 weeks it took a certain internet shopping giant to get me a copy of ‘Somebody’s Knocking’ made it sound all the more sweeter when I did get to hear it, and whilst it doesn’t really sound like Erasure covers sung by Lee Marvin for anyone left feeling disappointed with Iggy Pop’s recent ‘Free’ album this is the near-perfect antidote to that record.
Great stuff!

buy ‘Somebody’s Knocking’ Here


Author: Johnny Hayward

Well, this reviewer has been to a few concerts over the years whether it’s been a stadium with thousands of people or a pub with just a few fellow gig-goers but I can honestly say I’ve never been in a church for a night of rock’n’roll antics.

When it was announced that one of my favourite artists a certain troubadour by the name of Ginger Wildheart was appearing in St. John’s church in Cardiff not only was I enticed with the thought of a night with his glorious melodies but also would i not go up in flames in such a holy setting, luckily I came out intact and not in ashes.

Ginger was also airing his new solo band the “sinners” so overall I was more excited than a kid on Christmas eve.

Ginger and his band arrived on stage to a packed St. Johns church and launched into the stunning track “The Pendine Incident” and the sound of a full electric band who were on fire with Ginger was spine-tingling. This new band the sinners didn’t sound like they were gelling on the road it sounded like they were seasoned vets having played hundreds of shows, not just one!  it was vibrant and there was definitely chemistry and tightness to suggest the band had been playing together for years, “WOW”.

“Toxins And Tea” was up next and this beauty of a “G.A.S.S” track saw Ginger in fine voice and it was great to hear it live in this setting.

Ginger announced the sad news that rock’n’roll legend Dan Baird was retiring from the live circuit and in tribute Ginger and his sinners played a fitting version of Georgia Satellites “Six Years Gone” which to be fair was glorious.

Next up was “Do You” and this track has a deep meaning for this reviewer as the song talks about the serious nature of suicide and as I struggle with depression Ginger’s music has always been such a comfort and guide and has helped me through the hard often dark times. One of the things that is so great about Ginger’s music is that he wraps often dark lyrics in a joyous uplifting melody.  so that while it is a serious subject matter it can also be uplifting to you and makes you feel better, (if that makes any sense?) The power of Ginger’s music can be such a great thing.

Moving through his repertoire we reached the Hey Hello earworm of ‘Swimwear’ and by God (excuse the pun) this was stunning with all us gig-goers singing along.

‘The Pessimist’s Companion’ was up next off the roots/country albums and is written about his dog “Maggie”. I truly feel sorry for someone who has never had a furry companion as they are indeed mans best friend. I recently lost my furry best friend “Alfie” and even though I have been feeling down and sad recently the power of music (and particularly Gingers) shines a light through the darkness.

‘(Wye aye) Oh, You’ another gem off ‘The pessimist’s Companion’ album was played and it went down a storm in this live moment atmosphere.

“Petite Mort” saw Givvi Flynn take lead vocal duties on the Yolanda Quartey vocals (who originally sang this track) Obviously I had heard of Givvi but had never had the pleasure of hearing her live and all I can say is “Wow” her voice soared as high as the church ceiling and was amazing in these truly celestial surroundings. simply stunning.

We were treated to the double whammy of ‘The Daylight Hotel’ and ‘Paying It Forward’ off Ginger’s other roots/country album ‘Ghost In The Tanglewood’ and these songs were glorious in the church surroundings.

‘Honour’ another “G.A.S.S.” gem was played next which originally had “Courtney Love” on vocals but yet again “Givvi” stepped up to the plate and smashed it out of the park with her and Ginger’s voice harmonising together beautifully.

Ginger informed us that ‘The Words Are Gonna Have To Wait’ was written about “David Bowie” and this track was a fitting tribute to such a legendary artist and being in a church who’s not to say that the legend wasn’t looking down and tapping his foot accordingly.

‘No One Smiled At Me Today’ is another one of this reviewers favs and to get to hear it in a live setting was truly magical.

Ginger recently released another excellent solo album titled ‘Headzapoppin’ and I was hoping for a track to be played off it and I was not left disappointed as “Zap” was aired and it sounded as great live as it is on record.

Next up who’d have seen the band cover the Quo classic ‘Dirty Water’. I am ashamed to say that I didn’t know this track but I really enjoyed it (my homework will be to delve into the Que catalogue).

‘Caer Urfa’ was better live than on the record may be the surroundings had it elevated.  Us Ginger fans know what a genius songwriter and musician he is but what is often overlooked is what a great singer he is and his vocals were epic on this track no doubt helped by the epic acoustics of such a high ceiling.

With that Ginger said thank you but with the crowd wanting more he said he would be back in five minutes much to the crowds and this reviewers relief and exited the stage with St. John’s church clapping and shouting for more.

Upon their return, Ginger and his Sinners played the familiar chords of ‘Geordie in Wonderland’ and bang the crowd were all singing along.

Up next would be the last song of the evening and yes, sadly all great things have to come to an end. the way the evening had panned out it was always going to go out with a bang so, What else was he going to play in a church to bring an end to a mega evening? The glorious ‘Loveshit’ (sorry God) and with that this awesome show comes to an end.

All this reviewer can say is what a memorable night this has been weather being in the stunning surroundings of St.John’s church or hearing a truly on fire band (not Due to being in church) what a magical night this has been and what a setlist we were treated too with Ginger digging deep into his classic catalogue of tunes that we rarely here live.

Please get out and see Ginger Wildheart as whatever problems you’re going through and in these tough trying times we all need some happiness and trust me, going to a Ginger show will leave you with a joker sized grin on your face and a warmth in your heart that money cannot buy.  It would be a shame if this wasn’t repeated in the future so with a quick prayer I legged it before I burst into flames. The devil on tonight’s evidence doesn’t have all the best tunes Ginger and the Sinners have them.

Author: Gareth ‘Hotshot’ Hooper

Last week we had Ben reviewing one of the early shows on this tour and by all accounts another memorable night in the company of one of music most exceptional performers. Catching the tail end of the tour there were no plans to run a review but when we have bands this good it seems only right we should cover them as much as possible. Damn this band should be playing bloody arenas and be a household name but we know the world doesn’t work like that. for now, the people who get rewarded are the ones who just know, right? right!

Tonight the Fleece is very busy which is always a good sign, the last time this band played here in Bristol was aboard the good ship Thekla and the attendance wasn’t great. Tonight, with a brand new album in tow it was already looking promising as the room was busy for the opening band – Mother Vulture. They took the stage but quickly they weren’t my cup of tea at all, from the soaring vocals to the new wave of classic rock schtick of the band’s repertoire it’s just not what I listen to but there are plenty of satisfied punters digging their thing.

Next up Electric Eel Shock. A three-man ’80s cock rock assault on the senses, sure it’s bordering on the Barron Nights comedy but these guys do have a song in the shape of ‘Bastard’ that is so ’80s it’s wearing its own spandex and coughs up its own hairnet hairspray can.  They throw in enough shapes to make a Whitesnake tribute band blush and Don Dokken’s hair would fall out (again) if he were to follow these guys on stage.  But they have the audience smiling and wearing a Hanoi Rocks t-shirt is always going to go down well. Job Done I guess they have fun paying their dues and the audience goes along with them. 

Now, the reason we’re all here. Michael Monroe band, strap in, its time to Rock Like Fuck! After hearing many reports of how good the band has been on the tour so far and with only three shows left on the tour surely this one was going to be off the scale with the Fleece being such a good venue even with the pillars running through the venue it’s steeped in Rock and Roll. (even if they make their bread and butter off bloody tribute bands but if that means that nights like tonight and bands like The Monroes can tour and play then even I’ll turn a blind eye).

With ‘One Man Gang’ on heavy rotation the albums growing in stature on every play,  it’s a breath of fresh air to hear the band blast off with the opening five songs all taken from the new record! A bold move for any band but one that gets my approval that’s for sure. From the frantic punky title track to the catchy chorus of ‘Last Train To Tokyo’ to the New York cool of ‘Junk Planet’ this is cooking up to be an exceptional performance. With the band locked in and moving like a cat on a hot tin roof its hard to keep up,  with plenty of smiles on stage it looks like they’re having an absolute ball in this band. Of the songs on the new record to hear them run through ‘In the Tall Grass’ is super cool and such a great song to take on so early on in the set is a supremely confident move from such a great band.

Monroe and Conte make themselves comfortable on the barrier for a nice run through ‘Ballad Of The Lower East Side’ before ripping up ‘Old Kings Road’.  the band were flying through a rapid set that had ’78’ up next before cooling things down with a mellow ‘Black Ties And Red Tape’ (Not)  I’ve seen Monroe many many times live and with many line ups and in many venues all over the UK and I have to say with the exception of Hanoi Rocks classic line up in the mid 80s this is by far the best line up he’s had and the entertainment value is off the scale (it does help having such a strong cannon of songs to pick from for sure) but tonight they are on fire.

Step forward Mr Yaffa as we get the first Hanoi song of the evening as he thumps his way through the intro of the classic ‘Motorvatin’. Always wearing some splendid headwear and playing his bass with such style and having a Perma-smile its such a pleasure to be in the company of such talent. We get another new one in the shape of ‘Hollywood Paranoia’  before we head into the home straight as another thumping rendition of ‘This Aint No Love Song’.

I could have stayed all night listening to new songs or solo material played with an energy most bands could only dream of achieving but its also always nice to hear that Saxophone and a couple of Hanoi rocks tunes so things do slow down for a minute or two as ‘Don’t You Ever Leave Me’ makes way for ‘Malibu Beach’ before they hit the cover that the band took ownership of on the ‘Two Steps’ album ‘Up Around the Bend’ sees people lose their shit as the kids say and there are going to be some saw heads come the morning. The main set is wrapped up with a pulsating ‘Dead, Jail Or Rock and Roll’.

Play Vi

I’m still scratching my head as to how fuckin’ good this show was and how the hell this band isn’t playing venue ten times this size. I will console myself in the fact that if the world won’t listen then that’s their loss and you can only lead a horse to water and all that. The night wasn’t quite done yet as we had the pair of tunes from Demolition 23  and ‘Nothing’s Alright’ followed by the high kicks that go with ‘Hammersmith Palais’ which only left a blistering duelling rendition of the Stooges classic ‘I Feel Alright’ and then they were finally done. Until the next time that is and the sooner the better.  If you get the chance to see this band then take it they have a superb new album they’re showing off and its raised the bar for everyone else to follow.
There aren’t many bands who can compete with this one on the kind of form they were on tonight and it’s why going to live shows is still so much fun. Great company, great venue, great band, great songs, great memories and great fun and always a frontman who Rocks Like Fuck! always a pleasure – never a chore.
Author: Dom Daley






BMG and Niji Entertainment Group Inc. have partnered to reissue DIO’s 1996 – 2004 studio albums: Angry Machines (1996), Magica (2000), Killing The Dragon (2002), and Master Of The Moon (2004). These newly remastered versions feature rare and never before released live and studio bonus tracks, and were remastered by longtime DIO collaborator Wyn Davis with updated artwork from frequent DIO designer Marc Sasso.

Long out of print on vinyl, the 180gram black vinyl includes the original tracklistings and is available as a Limited Edition first run with and LP-sized Lenticular album art print. As a special bonus, the Magica 2LP also contains a 7” single featuring ‘Electra’, the only known completed track from the planned Magica 2 album.

The CD versions of each album have also been long out of print globally. These newly remastered deluxe versions are showcased in mediabook packaging along with a second disc featuring rare and unreleased bonus material. In addition to rare studio tracks ‘Electra’ (included on Magica), and ‘Prisoner Of Paradise’ (included on Master Of The Moon), each bonus disc includes a selection of both rare or never before released live tracks from the accompanying tour for each studio release.

All bonus tracks are also available on the streaming/digital versions. Check the links below to hear rare live tracks from across DIO’s legendary career:

Wendy Dio says, “I am very excited to be working with BMG, a label that still has a passion for rock music. They will be making the complete DIO catalogue available again with some interesting surprises.”
Angry Machines
Originally released in 1996 and featuring the line-up of Ronnie James Dio (Vocals), Tracy G (Guitars), Jeff Pilson (Bass), Vinny Appice (Drums) & Scott Warren (Keyboards) the CD/digital version features 12 bonus tracks recorded live on the Angry Machines tour in 1997.Disc 1 & LP Tracklist
1.    Institutional Man
2.    Don’t Tell The Kids
3.    Black
4.    Hunter Of The Heart
5.    Stay Out Of My Mind
6.    Big Sister
7.    Double Monday
8.    Golden Rules
9.    Dying In America
10.    This Is Your LifeDisc 2 – BONUS / LIVE on Angry Machines Tour 1997
1.    Jesus Mary and The Holy Ghost – Straight Through The Heart
2.    Don’t Talk To Strangers
3.    Double Monday
4.    Hunter Of The Heart
5.    Holy Diver
6.    Heaven and Hell
7.    Long Live Rock and Roll
8.    Man On The Silver Mountain
9.    Rainbow In The Dark
10.    The Last In Line
11.    The Mob Rules
12.    We Rock

Originally released in 2000 and featuring the line-up of Ronnie James Dio (Vocals), Craig Goldy (Guitars), Jimmy Bain (Bass), & Simon Wright (Drums) the 2LP set includes a bonus 7” of studio track ‘Electra’ and the CD/digital version features 10 never released before Magica tracks performed on tour in 2001.

Disc 1 & LP 1 Tracklist (LP 2 includes Magica Story + bonus 7”)
1.    Discovery
2.    Magica Theme
3.    Lord Of The Last Day
4.    Fever Dreams
5.    Turn To Stone
6.    Feed My Head
7.    Eriel
8.    Chalis
9.    As Long As It’s Not About Love
10.    Losing My Insanity
11.    Otherworld
12.    Magica (Reprise)
13.    Lord Of the Last Day (Reprise)

Disc 2 – BONUS / Live on Magica Tour 2001
1.    Discovery
2.    Magica
3.    Lord Of The Last Day
4.    Fever Dreams
5.    Eriel
6.    Chalis
7.    Losing My Insanity
8.    Otherworld
9.    Electra – Studio Track
10.    Magica Story – Studio/Spoken Word 18:26

Killing The Dragon
Originally released in 2002 and featuring the line-up of Ronnie James Dio (Vocals), Doug Aldrich (Guitars), Jimmy Bain (Bass), & Simon Wright (Drums) the CD/digital version includes 6 tracks recorded live on the Killing The Dragon tour in 2002/2003.

Disc 1 & LP Tracklist
1.    Killing The Dragon
2.    Along Comes A Spider
3.    Scream
4.    Better In The Dark
5.    Rock and Roll
6.    Push
7.    Guilty
8.    Throw Away Children
9.    Before The Fall
10.    Cold Feet

Disc 2 – BONUS / LIVE on Killing The Dragon Tour 2002/2003
1.    Holy Diver
2.    Heaven and Hell
3.    Rock and Roll
4.    I Speed At Night
5.    Killing The Dragon
6.    Stand Up And Shout

Master Of The Moon
Originally released in 2004, Master Of The Moon was the final studio album under the DIO band name and featured the line-up of Ronnie James Dio (Vocals), Craig Goldy (Guitar), Jeff Pilson (Bass), & Simon Wright (Drums). The CD/digital version includes 5 bonus tracks recorded live on the Master Of The Moon tour in 2004/2005.

Disc 1 & LP Tracklist
1.    One More For The Road
2.    Master Of The Moon
3.    The End Of The World
4.    Shivers
5.    The Man Who Would Be King
6.    The Eyes
7.    Living The Lie
8.    I Am
9.    Death By Love
10.    In Dreams

Disc 2 – Bonus / Live on Master Of The Moon Tour 2004/2005
1.    Heaven and Hell
2.    Rainbow In The Dark
3.    Rock and Roll Children
4.    The Eyes
5.    Prisoner Of Paradise – Studio Track


first up this Monday morning how about some loud guitars courtesy of Headstones and their ‘Dimes And Pennies’.  Action Rock, garage punk, call it what you like it sounds like Rock and Roll to me.  With a hint of the magnificent Gluecifer this ones a banger!

Next up are Manchurian Hard Rockers Carnival Club causing a bit of a stir up north with their sounds.  Well, they have a new video out.  The video, shot in super-8 film by new director Megija Germane matches ‘My Lady’s’ helter-skelter feel; depicting the ‘screwed, blued and tattooed’ off-stage antics of Kai and friends.

Finally bringing up the read is the new track from The Bloody Hell entitled ‘Out Of Our Minds’ and is the bands fourth single of their self titled debut album..I might be wrong but I think it’s safe to say they’re the first band we’ve featured from Nova Scotia but you can  find em on Facebook Here

If you like Giuda (really! What a dumb question), then look no further for your next fix of 70s flavoured pop goodness. At this point, I’m assuming you are aware of the talents of their lynchpin and guitarist/vocalist, Lorenzo Moretti. Not content with running the well-oiled Giuda tune machine, he’s teamed up with multi-instrumentalist Tiziano Tarli, who’s son contributes drums on this debut collaboration. Sterbus completes the line up on bass duties.

While ‘ZAC’ isn’t a million miles away from Lorenzo’s main job, it’s different enough to keep it fresh, and there is an air of optimism in their sound. ‘Count On Me’ is a breezy, Hammond infused opener, the kind of ear-worm we’ve come to expect from Lorenzo. Here, he’s committed to full technicolour pop, the album is often piano-led. ‘Not Anymore’ is a case in point, like prime-era Slade. ‘What If You Don’t’ could almost be ‘Here Comes The Sun’ at first, before mutating into a Glitter Band middle eight.

‘Superhero’ has a hint of the ‘Roobarb’ theme tune, while ‘There She Goes Again’ and ‘I Got Something In My Mind’ both remind me of The Rubettes. No complaints here! ‘Stay Up All Night’ even references 1974, ‘Wild Love’ is anything but; a classic, bouncing bass line. We veer towards the ballad on ‘Girl On The Train’, and ‘When You Go To Bed’ has an infectious bassline melody, while the power chords recall ‘Hello, Hooray’.

As ever, Lorenzo chooses his influences carefully. It’s never heavy-handed or overt unless it’s meant that way. This is a fun, yet classy album, which indicates the breadth of his talent. If I get to see ZAC supporting Giuda, I’ll be very happy.

Author: Martin Chamorette

Buy Zac Here