For those of you who don’t know The Diamond Dogs were founded in the late 90’s by vocalist Sulo Karlsson and guitarist Anders Lindström who under the nom de plume of Bobba Fett plays keyboards with The Hellacopters, which through reverse engineering, is how I discovered them. Musically the band is neck deep into the likes of The Faces, The Stones and The Pretty Things with a soulful garage edge and have over these Covid months been re-issuing their back catalogue. The latest is “Atlantic Juice” that collates the songs from the 2003 Jeff Dahl “Atlantic Crossover” split album and a selection from “That’s The Juice I’m On” that I think in turn was a compilation album itself.  


Kicking the album off is “From Now On” that tells us We’ll Be Strong and if anything is going to raise your spirits this is the perfect way to get things going in the right direction. “Scunthorpe Avenue” I’m sure wants to be “Gimme Shelter” as played by Dr Teeth and the Electric Mayhem, with “Drink To Ya” the best song the Robinson Brothers never wrote and “You Captured My Smile” is the Diamond Dogs very own “She Talks To Angels”.  “Get The Monkey Off” features some great electric Piano straight from the School of Billy Preston courtesy of The Duke of Honk, who along with Sulo in 2020 is the only original member  


Even though the songs were recorded at different sessions “Atlantic Juice” comes across as a well rounded flowing record that could’ve been recorded in the 1970’s down in some Chateau in the South of France. The thing that stood out for me, especially on “Hurt You Twice As Much”, is how much these songs need to be played and heard live. In the meantime I guess we’ll just have to do with the very much appreciated vinyl and CD 

Buy ‘Atlantic Juice’ Here


 Author: Armitage Smith


Jangly pop darlings from as far North of England as you can get before you enter Scotland this Cumbrian indie power-pop tarts display enough melody for a truckload of Teenage Fanclub records and obviously have an ear for some Americana. The opener’ Play Hard’ builds nicely over layers of vocal harmonies and a decent building whisper to a scream sound as you can get.

It’s been six years since the bands previous long-player and songwriter  Will Harris says the album was recorded through a particularly tough time “hope, joy, anger, fear, loss and, ultimately, back to hope again, but all with catchy tunes!” is how he described ‘Howl’ and right from the opener you can’t disagree with him. As the song builds on those Beach Boys melodies to something rougher and more bruised before coming to an end.

There’s a panoramic feel to ‘Janey’ its got some of that country-rock vibe to it not a million miles from Gram Parsons and a great wide dessert feel to it. Are they sure these guys are from Cumbria and not southern California?

It’s funny how the same week I get this to review I’m also confronted by The Lemonheads 30th anniversary ‘Lovey’ and Drive-By Truckers also release a new record all very different but all linked with a fine pop sensibility in the melodies and some of the arrangments and you can throw the new Eels album into the mix as well.

I don’t like everything on offer here. the melody on ‘Goldmine’ isn’t quite to my taste but ‘Chicago’ is back on track. ‘The Start’ is more a lovely ballad with just a sparse piano and some Crosby, Stills, and Nash harmonies going on before building.

To be honest, in a time when everything seems to be gloomy it’s quite refreshing to have something a little dreamy and warm and Mylittlebrother is providing just that light relief at this moment.

Sure there are moments comparable to the likes of Dennis Wilson, Big Star, Wilco, Teenage Fanclub, Julian Cope, and Grandaddy and Pavement all locked in the DNA of Mylittlebrother. Which is no bad thing that’s for sure. From Cumbria to California we all need to smile and records like ‘Howl’ might just be able to provide the soundtrack for that.


Buy ‘Howl’ Here

Author: Dom Daley

So who are Silverjet? Silverjet are Dave, Pais, and Alex, a three-piece rock band from Sheffield.
Where did you get the name Silverjet? I believe the band was named after a guitar Dave liked, but it was named that before I joined. Mostly, I think it’s just something that sounds nice.
How about a brief history of the band and how you got to 2020? We formed about 15 years ago and have been through quite a few changes in line up and sound. The original recordings were very bluesy and raw, but we’ve gradually added more metal and modern rock elements to make more anthemic songs. We’ve put out three albums (the most recent being 2012’s ‘Push Kick Bravado’) and a handful of EPs/singles.
What about recent recordings?  ‘Everybody Used to Love You’ is the first from our recent batch of recordings we started when Alex joined us. We weren’t necessarily planning on making new music, but we were offered a bit of a reunion gig and Alex joined us. We enjoyed playing with him so much that we had to make some more music together.
As a band I guess you all share a love of Rock and Roll who are the bands you jointly love?  We’re into Backyard Babies, Black Crowes, Wildhearts, basically anything with big riffs and catchy choruses.
What About post-pandemic action?  What plans have you made?  We were planning on gigging a lot this year but that’s obviously been scraped, so instead, we’ve worked on some of the recordings that luckily we had mostly tracked before the pandemic, as we can do that remotely. Dave also recorded a solo acoustic album which is very cool, I highly recommend checking it out.  We’re going to jump in the van and get to as many venues as will let us play. We had a really fun year planned this year, which luckily has mostly been rearranged for next year.
Check out Silverjet Here

Volunteering when you are 4 double Jameson’s into a double-figure session down the Pub to review an album is probably not the way to do things. However, yours truly did just that with regards to Stiff Richards’ “State of Mind” album. Two days after my drunken endeavours the WeTransfer file arrived. “Please be good” I hoped. Have you ever, from the opening notes of a record from a band you have absolutely no knowledge of, known instinctively that you’re gonna love every single one of the songs? Again, that’s what happened to yours truly. “Point of You” kicks in with top quality jangly guitar before the rest of the band cotton on and let rip. Almost immediately, I was singing along, all right shouting along, at the idiot box with “What’s the point of you?!” For those of you wondering why I had the Television on whilst listening to music, I have the subtitles on whilst using the home Gym, gotta burn those Jameson Calories off somehow and being annoyed at the News helps. It’s almost like the guitarist came into the rehearsal studio with a whole bunch of riffs, started playing them and the rest of the band automatically knew what was expected of them, with the bassist on “Glass” Peter Hooking things up in the manner of Joy Division’s “Dance To The Radio” but not. “Got It To Go” sounds like Rod Stewart and the Faces have rediscovered their swing or gin. The songs are loose, tight and explosive all at the same.  

The nine tracks on offer come and go in less than 30 minutes leaving me gasping for more, the fast pace does easy up towards the tail end of the album allowing me to catch my breath but not enough that I need to lie down. 

I resisted the temptation to discover more about Stiff Richards whilst writing this as I didn’t want to be influenced or swayed by anyone or anything else. I did get it into my mind that they must be Australasia as the singer sometimes hinted at Rob Younger, either that or he was a fan of Radio Birdman and The New Christs. Turns out that the band are Australian residing in Rye which is just outside of Melbourne and consist of Wolfgang Buckley on vocals with Arron Mawson and Tim Garrard on guitars, Raf Heale on Bass and finally Lochie Cavigan on drums.  

“State of Mind” from Stiff Richards is available right now from the aptly titled Legless Records. UK label Drunken Sailor Records will also have copies available in December/January.


Author: Armitage Smith






Ten years ago, the two acclaimed musicians hung out, drank whisky and wrote & recorded an album together called Buddies – a lighthearted hang between friends that became a hit with fans of both artists. Fast forward a decade and the pair are still buddies, so they decided to write a follow-up.

As with the original, Buddies II: Still Buddies was written in just one day, although this time, however, Turner and Snodgrass had to do it over the Internet due to lockdown. With more time on their hands than usual, they were able to flesh out the album, musically, and recruit other buddies – Stephen Egerton (Descendents/ALL) on drums and Todd Beene (Lucero, Chuck Ragan, Glossary) on pedal steel – for added instrumentation. The result is a funny, warm and at times poignant album that’s part talk show, part music.

Touching upon themes such as Jon having children, their travels across the U.S., name-checking other songwriter “buddies” like they did on the original LP and more, the album is a charming and playful reflection on a friendship 10 years on. From the punk-turned-country of the album’s lead single, “Bad Times Good Vibes” to referencing George Carlin’s infamous “Saving The Planet” on “The Fleas,” Buddies II: Still Buddies also stands as the first album Turner has recorded, mixed and mastered entirely on his own.

“Lockdown has been such a blow to the music industry, and such a drag that we were all looking for things to do. Jon and I have been buddies a long time, and I noticed the 10-year anniversary of our collaborative album was coming up. Technology is such that we were able to reprise the writing method remotely, and indeed it turns out we’ve got a lot better at it in the intervening decade. I’m really, really proud of the record.” 

And Snodgrass adds: “BUDDIES II was somehow even more fun to make. It even sounds better too! Frank mixed it & we enlisted Todd Beene & Stephen Egerton. So yeah, 2 more buddies. It’s twice as good, imo. I can’t wait until 2030! It’s gonna be three times better & we’re gonna do it at sea!!”



Frank Turner

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Jon Snodgrass

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In a year that has been beyond miserable for the world, this has been one of those gleams of light that I have looked forward to since it was first announced back in 2019. Some will dismiss this release without ever listening which is a crying shame. The Dogs D’amour changed not just my musical world but my world in general with the release of ‘In the Dynamite Jet Saloon’ way back in the day. They were the first band that I ever really felt like were my own. In looking at those early full length albums, the band released another monster in ‘Errol Flynn.’ There was a tiny bit of a break before the band returned with ‘Straight’ which included a change in the producer chair with Rik Browde replacing Mark Dearnley. There were subtle differences in the production, and the album contained many classic songs. For whatever reason though, ‘Straight’ has always been my least favorite in the run from Dynamite to ‘More Unchartered Heights of Disgrace.’ With that in mind, I was really interested to see what the current line-up would do with these songs as they have recently released two stellar brand new albums in ‘In Vino Veritas’ and ‘Jack  O Byte Bluesy Vol 1.’ With the line up on the version 30 years ago, there was always a cool danger element that everything was about to go sideways at any moment, but the band kept it together. There was a special chemistry that cannot be replicated, but this is truly not about trying to replicate that. This current collection of Dogs has developed their own chemistry that is magic in its own right. They have become extremely tight musically with all of the members contributing to the writing on the new releases.

When I initially received this for review, it was the unmastered version in alphabetical order, but the mastered version arrived soon after so I am basing my review on it. I am a creature of habit so when I added it to the computer and iPod, I put the album in its original running order. (Sorry Tyla) On an interesting note, this is the first Dogs D’amour album to have no acoustic guitars on it which may surprise fans of the original album and the band in general. The initial two guitar notes and ‘for what you are about to receive’ line from Tyla may sound familiar, but this version of ‘Cardboard Town’ is built much more on a groove that gets the body moving with the piano enjoying a healthy spot in the mix as well. The band is extremely tight here with Gary Pennick delivering a fine solo that sets the table for what is to come next. One of my favorite Dogs songs is ‘Kiss My Heart Goodbye’ which sounds excellent here. The acoustic guitars at the beginning are replaced with some electric notes that give it a different feel. Tyla has really been delivering some great vocals over the past several years. He really sounds like no one else, and there is no doubt he is channeling these songs from deep inside his soul. Simon adds some great fills on the drums here as well. ‘Lie in this Land’ does not include the old vocal quip at the beginning. This version feels a little more controlled on the guitars in the mix with Simon and Matty (bass) giving it a tight beat. I would say this version feels a little more rock n roll than the original with both the old version and this one being great versions. The guitar solo works well within the context of the song. I don’t ever feel like Pinnick is trying to be Jo Dog. They are two very different players who I don’t ever compare.

Turning to ‘You Can’t Burn the Devil,’ the band turns it into a moody electric song that contains some great drum work by Simon. I don’t always notice the drums right away, but his work here jumps right out at the listener. The pace builds a bit as the song goes, and I have to say this is my much preferred version of this song. ‘Gypsy Blood’ comes shooting out of the speakers like a cannon shot and showcases a group of guys who are totally in sync. Jamie Turnbull has done a great job in the producer chair and mixing this one as each member sounds amazing in the mix. ‘Empty World’ has been transformed from a sullen journey about heartbreak into a much more up tempo song musically. It captures that Dogs magic where a classic lonely lyric feels positive and optimistic when juxtaposed against the music. Something that should stand out here is that these Dogs were never concerned about going into the studio and cranking out a note to note same version as the original to get around record company rights. The record sounds fresh and awesome.

Flipping the digital files over for side 2, the band deliver a noisy romp through ‘Back on the Juice.’ When I initially listened to the unmastered version of the record, this was the first song I heard and was a little iffy on how it was sounding. The finished product sounds great with an extremely busy mix as it is one of those songs that really doesn’t seem to contain any quiet moments. Simon again kills it on the drums, and the piano work is great. One of my favorites from the original album was ‘Evil’ which never seems to get as much love as some of the others here. A fully electrified version sounds even better with Tyla once again on fire with his vocals. I want to also mention the other guys deliver great backing vocals across the album with this being just one example. Tyla re-recorded ‘Victims of Success’ about 8-9 years ago when he released a new version of ‘In the Dynamite Jet Saloon’ which ultimately failed to deliver. I would put that down to several reasons with one of them being that this was not the band recording that version. The original is a song that is ingrained in my DNA. I loved the extra backing vocals on the original and how it rocks after the intro. This version follows its own line of tricks and stands equally on its own even if it paces itself a little different.

Coming up to our final quarter post, we start with one of perhaps the songs that never resonated much with me on the original in ‘Flying Solo.’ For me, there was always just something that never quite connected. This version finds a cool bluesy groove that works much better for me. The way the piano is sprinkled into the mix adds a lot to the song. James and Simon really deliver great performances across this album and form a great rhythm section. I remember an old interview in Kerrang around the time ‘Straight’ was released where Tyla mentioned they redid ‘Heroine’ at the request of Browde because he loved the song. This was another song that was added to the new version of ‘In the Dynamite Jet Saloon’ and just left me kind of flat. This has historically been one of those songs that I like but came into this wishing it would have been left off for ‘Lady Nicotine.’ Tyla reckons this is the best performance and version of the song yet, and, quite honestly, I think he is right. It takes cues from the original version back in about 1988 (god I feel old) but gives the song a very different approach. I think I will leave it at that, and let everyone experience it on their own. Wrapping up the album is another one of my favorites from the original- ‘Chiva.’ This version takes the song to another level with Matty’s bass propelling listeners to move. It shaves about a minute off the original and ends my original running order of the album on an incredible high point.

I am generally not one to advocate re-recording albums because you will never capture the nostalgia factor that we as fans have for the original recordings. I think that even applies to situations where we are hearing a 5th generation dubbed cassette (remember those?) of something that has considerable sound issues. In this situation, I mentioned that the original ‘Straight’ was my weaker link in those earlier albums, but I also want to stress that it was and still is a great album. The Dogs on that record put out several very special records which is why we still play the crap out of them today. This version as a whole has grabbed me more than the last version did 30 years ago. The production seems a little more dense here where the production on the original had a different feel. I have not been able to stop playing this one since I received it, and it is one of those experiences where I don’t want to have to just listen to a few songs, I want to hear it from start to finish. I am not sure what the track order on the actual CD will be but look forward to seeing if it is the traditional or alphabetical. Now, I am going to hit play again and just keep rocking here.

‘Straight Up 2020’ is released soon.

Buy ‘Straighten Up’ Here

Tyla’s Art Tavern / Bandcamp


Author: Gerald Stansbury

Rainy Days & Mondays is about right round these parts so to banish away any blues here are a few of the videos we’ve enjoyed recently.  First up is Manchesters We Three Kings with their ‘Savoir Fair’.

Web:Official Website /Listen:Spotify / iTunes / Bandcamp / Soundcloud /Social:Facebook | Twitter | Instagram | Youtube

Second up is this banger Hot Off the press from Continental Lovers ‘Tattered Star’ The story of a washed-up has-been glam rock mess….played by Joe ‘Desglose’ Maddox Bandcamp /  Facebook / Twitter


Just in case you didn’t know – The Wildhearts are releasing a brand new live album.  Reviewed Here
It gets an official release in December for those who didn’t know.
“Ginger gave me two instructions: “Loud guitars and loud crowd”….I didn’t have a choice in either as that’s what was captured during the recording” – Live album producer Dave Draper

At a time when we are craving live shows more than ever, Round Records presents  ‘The Wildhearts – 30 Year Itch’, recorded live during the band’s ‘The Renaissance Men’ and ‘Diagnosis’ tours during 2019.

The 17-track album showcases the incendiary energy that has made The Wildhearts one of the best loved UK live rock acts of the last thirty years. A perfect moment in time, thirty years from the band first playing live, that shows a band still at the height of their powers, bristling with energy as they deliver classic tracks such as ‘Caffeine Bomb’, ‘Suckerpunch’, ‘Let Em Go’, ‘Vanilla Radio’ and ‘I Wanna Go Where The People Go’.

Ginger says, “There are a few authorised bootleg live albums of The Wildhearts doing the rounds, but as soon as Danny rejoined the band I knew I had to capture the classic Wildhearts line up on record. There were a few reasons for this, the main one being that we’re still alive, which is a situation that could change at any second with this group.

I also wanted people to hear how insanely powerful The Wildhearts are as a live band. Pounding drums, chainsaw bass and bombastic guitar riffs, all underpinning harmony vocals and huge anthemic songs that every member of the audience sings like a football crowd. 
It’s a surprisingly emotional blend of noise, passion and unity.

As far as I’m concerned this is a classic album by a unique band playing timeless songs that don’t fit into any established genre. Is it rock? Is it punk? Who cares, it’s The Wildhearts.”

Although the release date of the album was set pre Covid, the albums Imminent release will give the fans a little taste of what they can’t have with the current situation.

Mastered once again by maestro Dave Draper, this double album captures the band’s balls out performance that still kicks the ass of crowds up and down the country, 30 years since they started!

Dave explains “Never Outdrunk, Never Outsung‘ was my first adventure into the world of working with The Wildhearts. I carried a lot of pressure on my shoulders to make sure it was as close to the experience of actually being in the crowd. Judging on what the feedback has been since it came out, I can say I think it worked out just fine.

So when the time came around to make another live album for the boys, myself and Elliot Vaughan once again jumped in the car and captured a few shows from The Renaissance Men and Diagnosis tours of 2019.

When it came to the mixing, like on ‘Never Outdrunk…’, it was really good to hear older tracks having a new lease of life and power from the boys…. the two songs from ‘Endless Nameless’ that have made this new album are highlights for me and I’m sure many of you will agree. Timeless songs with all you mad bastards singing your hearts out on. What’s not to like? Ginger gave me two instructions: “Loud guitars and loud crowd”….I didn’t have a choice in either as that’s what was captured during the recording, Thank you for making my job a lot easier, guys!”

The album will be released commercially on the 4th December 2020. The commercial release also features an exclusive limited edition coloured vinyl version and also a CD version with 4 exclusive postcards, that will only ever be available with this version.

Buy ’30 Year Itch’ Here

WARRIOR SOUL have released a music video for Alice Cooper’s ‘Elected‘, the song taken from the forthcoming covers album ‘Cocaine And Other Good Stuff‘, which will be out on November 13th, 2020 via Livewire/Cargo Records UK.




Kory Clarke – “We wanted to make a record that was not about all the crap we are all living in, as it seems like a well worn path for . So, I had to think out of the box“.

The album was recorded all over the western world (Edinburgh – Scotland, Newcastle – England, Copenhagen – Denmark, L.A. – USA, NYC- USA, Chicago – USA, Detroit – USA, Sheffield – UK, Costa Blanca – Torrevieja – Spain) in home studios.

The idea for a covers album started when mainman Kory Clarke was contacted by legendary rock photographer, Alex Ruffini‘s brother, enquiring if Warrior Soul would record a cover of a KISS song, which was Alex Ruffini‘s favourite band, for a tribute in aid of Cancer Research. Warrior Soul recorded ‘Cold Gin‘. Once the band started recording, it sounded really positive and they decided to assemble a complete record of covers ranging from Motörhead to KC and the Sunshine Band.

Kory Clarke – “I contacted many of the musicians who have played with Warrior Soul recently and asked if they wanted to be part of it – everyone was very much up for it and ready to go. We called John Dryland at Livewire/Cargo Records, and he said ‘of course, go for it‘, the irony of recording ‘Good Times Roll’ during a global pandemic really works as you can hear the sneer of sarcasm right through every chorus!

Warrior Soul / Facebook

It seems like every review is beginning with the statement of since Covid, lockdown , isolation and social distancing etc.  The only part of our industry left standing is writing and recording – be it full-band recordings or stripped back solo albums or long lost but conveniently found demo recordings.  Well, here’s one for you that’s most definitely stripped bare and coming from a place of reflection, and whilst recorded in LA its heart belongs in industrial North West as Rossi pens thirteen brand new songs and one deconstructed classic cover. As far as solo acoustic recordings go this one isn’t one dimensional and Rossi calls on the support from his friends to help with vocals, percussion and hell, pretty much the whole shooting match. Sometimes less is most definitely more and proof that good things can come out of bad situations.

Let’s get the cover out of the way first.  ‘Jet’ by Wings is the tune and the original is a sprightly electric affair with a lot of gusto and brash rock and roll. Rossi takes it in a totally different direction with just Piano and some subtle strings for accompaniment oh and some lush backing vocals perhaps being the icing on the cake.  It’s gentle and totally owned by Rossi and the nylon string solo comes from the same place the Faces got their ballads from.  Very nice indeed.

Right, Back to the Album. It starts with a big old jumbo acoustic strum with Rossi turning in a very decent lead vocal on the title track and opener to be fair.  The chorus is a good old sing-along and joined by some timely cello strings and bass. With a smart fuzzed electric solo. It sets the tone for what’s to come perfectly – understated but grande if that makes sense? If you thought this was going to be a cock o the walk punk rock record then you best look away now or embrace this album for what it is – I’ll give the game away right here and say this is excellent, unexpected but flipping excellent.

The arrangments sound fairly simple with a really clean and unfussy production and the songs stripped pretty bare. Although there are a lot of performers helping out on the album it’s a really uncluttered sound.  The thing you notice straight away is how strong Mick’s voice is.  Weathered and strained at times which only goes to make the songs more appealing. ‘Sing with Angels’ reminds me of Frankie Miller with those big chords. A theme and style that runs throughout the album.  ‘Shout It Out Loud’ is a great example with the addition of a really cool Ronnie Lane like bass runs and I’m sure many will be singing along before the chorus has even finished.  Uplifting and feel-good music right there.

I love the dream-like feel of ‘Some Day’ with the fade in fade out of the electric guitar. ‘Big Lights Big City’ has a great blend with the strings.  I think that ‘Hang On’ has an epic feel to it and whilst it’s in line with the rest of the album in as much as there are no crashing drums and its predominantly acoustic guitar and tracked vocals with backing vocals a plenty its a really uplifting feel to it.

Having been really impressed with the album so far ‘Butterfly’ is the first to feature drums and therefore mixing the arrangments it’s a new texture and one that perhaps was needed and in doing so it has created something of a panoramic soundtrack with the added strings.  It might not be my favourite song on the album but it is really impressive tune. As we near the end of the album ‘Stranded’ sounds like Steve Marriott has entered the recording.

We reach the end and the album signs off ‘My Culprit’ easily the most dramatic track on the album and the most “Rock” like song with a dramatic edge to the music it has to be said this is an extremely strong collection of tunes and an album that Mick Rossi should be super proud of.  It’s not an album I was expecting but one I’m glad he’s made and love to arrangments. It’s an album I think will have longevity and will get better and better like a fine wine. Cheers.



Pick up a copy Here