CARDIFF SHOWS PAYING TRIBUTE TO NHS STAFF NOW MOVED TO JULY 2021
Manic Street Preachers have moved their previously announced shows in December at the Cardiff Motorpoint Arena to Friday 16th and Saturday 17th July 2021. This is due to the ongoing Covid 19 restrictions for the live music industry.
The first night is a free show for NHS staff, the second had tickets available to the public with all profits going to NHS Wales charities.
All tickets remain valid for the rescheduled dates but anybody who is unable to make the free show for NHS staff should contact Ticketmaster so they can be offered to another member of NHS staff.
The band who have championed the incredible NHS for many years explained: “We wanted to do something to show our appreciation, love and respect for the NHS and its amazing brave workers. One free show and one fundraising show seemed the best way for us to express our deep gratitude for all their heroic work. We tried our hardest to make these shows happen in December but due to the current situation have had to move them to 2021.”
New Dates: Friday 16th / Saturday 17th July 2021 – CARDIFF, Motorpoint Arena
Low Cut Connie main man Adam Weiner stands at his piano in his dressing gown, his mop of corkscrew hair dangling in his baby blue eyes like some crazed, Jewish Jerry Lee Lewis. Those same eyes stare directly at the screen as he sings his heart out for yet another of his weekly livestream events beamed from his living room. These weekly ‘Tough Cookies’ episodes are the new normal for a musician who had 150 plus gigs booked this year to promote the release of his band’s new album ‘Private Lives’. It’s a chance for the musician to connect with his audience, play songs and interview fellow creatives.
Covid times have derailed the lives of all musicians and entertainers for the near future and many are adapting and turning recent events around to do what they can to survive and continue to bring their art to their fanbase while live music is a no-no. You can’t keep a good band down and albums are still being made. ‘Private Lives’ is Low Cut Connie’s 6th long player. An ambitious 17 track double album that continues the Philidelphian resident’s obsession with the inner workings, the ‘private lives’ of everyday people.
The title track kicks the whole thing off in fine form. The upbeat rocker is the sort of tune a T Bird would’ve used to woo a gal like Sandy. An overly familiar drum rhythm thumps like a heartbeat alongside finger clicks, before a killer vocal refrain imbeds itself in your skull. Low Cut Connie have a knack of doing this sorta shit to ya on a regular basis!
Adam then takes his pals to church on the anthemic ‘Help Me’. A euphoric release of emotion. A cry for help. A plea for salvation. Call it what you will, I call it cool rock ‘n’ roll, baby! A great piano riff, a killer guitar lick and cool cat drums lead us into an emotive vocal performance. 2 tracks in and I must say this is one of the most live sounding records that isn’t actually a live record. If the band were intending to capture even a snapshot of their live show, then I say job well done here.
Clever use of space, interesting arrangements that thrill with every new listen, and melodies that stay with you long after the (virtual) needle has left the groove. These are the things that make ‘Private Lives’ an album you will want to return to again and again. Add to that a keen knack of character observation and storytelling that matches the likes of Bruce Springsteen and Billy Joel.
The songwriter manages to put you in the shoes of characters, where you can feel their pain, their despondency and their frustration of daily life. All the time emulating his heroes to great effect. Nods to The Boss are ever-present in the likes of ‘Run To Me Darlin’, but none so more than ‘Look What They Did’, Adam Weiner’s self-proclaimed follow-up to Springsteen’s ‘Atlantic City’. Armed with just a lone piano and a background of mournful strings he tells a tale of hopes and dreams being destroyed by profiteers who abandoned the city to ruin.
Stories of underdogs litter ‘Private Lives’ and its these tales that draw the listener in and make them feel akin to the stories and part of the album. Take a rowdy, rock n’ roll road trip with the likes of ‘Take A Little Ride Downtown’ or ‘Tea Time’. Witness Adam channel Elton John to perfection in the likes of ‘Charyse’ and the ballistic ball breaker that is ‘Nobody Else Will Believe You’. A song that makes me yearn for a live music fix live never before. Damn you Adam Weiner, damn you!
The highlights are plentiful. The fun time blast that is ‘The Fuckin You Get (For The Fuckin You Got)’ is like a profanity-filled Huey Lewis And The News cut. Nifty guitar licks and sleazy sax mix with Weiner’s piano runs. For me, it’s an album highlight. The live feel continues in the glorious and ramshackle ‘If I Die’. A jammed out, sloppy guitar lick introduces the song, the singer drawls “ok-ok” before slamming the keys and leading his band into a dirty, sweat-soaked blues workout. Like Exile-era Stones, this is late night, whisky soaked juke joint music, capturing the live energy and essence of a Low Cut Connie show to the max.
While Adam Wiener’s challenge of exploring internal lives has been realized with an ambitious and emotive double album containing great storytelling and quality songwriting, ‘Private Lives’ feels like a fly on the wall exclusive invite to a Low Cut Connie recording session. I like the way some songs feel unfinished and shortened, how some segue into others unexpectedly. This, along with the production give a ‘live in the studio’ feel that is perfect for a band that thrives on their live performances. Gospel-tinged sing-alongs rub shoulders with piano led barroom boogies, as Weiner sweats his heart and soul out with his tales of the underdogs that we can all relate to.
I thought long and hard how to start this review as this really is an unfortunate situation for those of us who have liked L.A. Guns throughout the years. I added the * to the name here as I really don’t consider this L.A. Guns. The legal system can work out who owns the name, and I understand the line-up changes throughout the years as I remained a fan throughout them. When L.A. Guns released their debut self-titled album many years ago, I became a fan and loved the record more than Appetite by that “other” Guns band at the time. The band never shied away from trying new things over the years, and things really did not go sideways until after the release of ‘Vicious Circle.’ Records like ‘American Hardcore’ and ‘Shrinking Violet’ really served as a band trying to find their way through a musical world that had completely changed and took recording budgets and major labels with them. I cannot tell you the last time I listened to either album outside of a song or two. ‘Man in the Moon’ started to right the ship and found Phil Lewis singing again. The band then released the very good ‘Waking the Dead’ which I continue to play quite a bit. Of course, this is L.A. Guns so all kinds of line-up shuffles took place over the years with there not being one constant member throughout everything. Lewis and Tracii Guns though are who I think of when I think of L.A. Guns. When I found out that Steve Riley and Kelly Nickels were going to perform under this band name, all I could do was shake my head and wish they would have named it something different. With Guns and Lewis already recording and touring together again as L.A. Guns, this just seemed pointless, especially since those new L.A. Guns records have been very good. Alas, I am here with ‘Renegades’ and dealing with the dilemma of treating this like a brand new band or in the shadow of L.A. Guns. Does it matter at the end of the day? Perhaps, it doesn’t because every album should be judged on its own merits, but the past is always there too. I will also add that I really had no intention of ever listening to this record because it is “not” L. A. Guns. I wanted to at least acknowledge that bias on my part because, as it turns out, I would have missed out on a record I enjoy.
I hate starting out with something that works against the band and album, but one of the items that hinders them is starting with a song that has more of a L.A. Guns feel without that extra spark to make it a special song. By now, many people have heard the song in question- ‘Crawl.’ I don’t mind Kurt Frohlich’s vocal here, but my gut tells me I should be hearing Lewis whose voice is L.A. Guns in my book. Nickels though has written a song that really taps into the L.A. Guns spirit. It has grown on me with multiple listens but goes back to trying to treat this album in a vacuum. The album kind of stays in the traditional hard rock mode with ‘Why Ask Why.’ It faired better on my first listens because it felt more like its own thing, and I really like the guitar work by Scott Griffin and Frohlich here. It helps change the tone of the album with ‘Well Oiled Machine’ feeling more like a L.A. Guns rocker. This song has been another grower for me. Frohlich does not have a wide vocal range, but his vocals work with the music which is what is ultimately important. I have no doubt that Riley and Nickels are enjoying themselves as the rhythm section is a great team with plenty of experience working together.
Next though is when the band really starts to find its stride with ‘Lost Boys’ mixing things up as a mellower rocker in the verses before kicking it up a gear for the pre-chorus and a cool singalong chorus. The guys have crafted a great song here with Frohlich delivering an excellent vocal. Griffin delivers a solid solo as well. This is also the longest song on the album but seems to go by in a blur. ‘You Can’t Walk Away’ then comes in as a soft rocker with the band going for some big backing vocals more in line with the likes of music from 60 years ago. This was where the band tightened their grip on me during my first listens. In the past, lighters would be swaying in the air during this one throughout the chorus… Back when we had live music… It closes the first half of the record in style.
Starting the back half, the guys maintain their momentum with the hard rocking ‘Witchcraft’ being another highlight from the album. This currently stands as my favorite from the album with the band combining perfectly on every level. The chorus is addictive and completely different from what they have done elsewhere with great work by Frohlich. Riley and Nickels push the rhythm in some excellent ways with Griffin adding some brilliant guitar. This would have been my first single from the album. ‘All That You Are’ continues the hard rocking and keeps the body moving to the music. The beat by Riley and Nickels gets props again with Frohlich delivering another really good performance and using some different techniques throughout the song. The band then go acoustic with ‘Would’ which gives the album a different texture. This feels more like a 70’s hard rock ballad. It is definitely not my favorite from the album, but it is also not one that I am going to skip when the record is playing. I think Frohlich is better served with the other songs here though as this one kind of swallows him in my opinion.
As we reach the end of the record, we are greeted with the title track which gets us back to a hard rock tempo with some guitar accents dancing around the beat. The chorus here doesn’t hit the mark for me, and I think the band could have delivered some backing vocals around Frohlich to help him. Wrapping up the album is ‘Don’t Wanna Know’ where the band strut to a hard rocking blues beat that ends the album on a good note. Vocals here fit like a glove as they feel down and dirty. Griffin lets loose with some classic rock n roll guitar notes. In some ways, the comparison that comes to mind here would be Tora Tora. It ends the record each time with a favorable impression.
As I said at the beginning, the context of this album presents some challenges, and I never intended to give it a listen. That would have clearly been a mistake, and I think fans of the genre will find an album they enjoy. They have some definite bumps in the road, but I do enjoy the album overall. Production wise, it is pretty raw which helps at times but also serves to the detriment of the title track where I think some finesse and added elements would have really helped. I am not changing the * beside the name as I really don’t see them as L.A. Guns. I see them as a band of experienced musicians though who are having fun, and we get a good record in the process.
You get an instant high from the runaway riffarama of ‘Mouthful Of Snakes’ and in an instant the vibrant uptempo post-punk hits you square between the eyes coming on like Hot Snakes. The guitars sound fantastic from the off and there is no relenting as ‘Dark Thoughts’ slam dances into your speakers.
This German band is definitely influenced by those Californian Rocket from the crypt boys but they have their unique DNA in this as well.
Ten tracks that never outstay their welcome and by the sounds of it weren’t labored over in the studio either which has helped maintain the live feel and the vibrancy of the recordings. There is an air of familiarity here and songs like ‘Face Up To The Mist’ sound familiar. However, its got a tonne of energy and the way the year is heading its the closest your gonna get to pogoing on the spot in front of your stereo and with the energy level you’ll require to keep up it’ll be some workout.
‘7070s’ is a royal banger with its hypnotic screaming guitar break its a real contender and, trust me at volume sounds fantastic. You’ll be punching the air before you’ve finished the first chorus of “7070s”. Bands like Zero Zeroes must be chomping at the bit to get out there and blast these out in some sweaty club and I’m sure that when the time is right the gang vocal sing-along of ‘Le Fay’ will be like the best night out in an age.
There is also a healthy dose of Ramones in songs like ‘Three Foxes’ which is never a bad thing either. The floor tom gets a good seeing to on ‘Tamam Shud’. To be fair this is an excellent album full to bursting with decent songs and another quality Drunken Sailor Record to help you through the pandemic. What else are you going to spend your money on? Dive in!
London Glam Punks, The DeRellas, are back with a new album “Something’s Got To Give” is gonna be a glam-punk killer album and they need your support to get it recorded.
It’s been a few years since The ‘Freak Show’ EP. With a rejigged line up founder member Timmy DeRella has taken over vocal duties, The new album ‘Something’s Got to Give’ will be THE definitive The DeRellas album. The songs are written, the artwork is done, the running order is decided. They’re ready to unshackle the beast and release it to the world like King Kong with a king-sized hangover.
So this is where YOU come in. So that they can get ‘Something’s Got to Give’ out to the public, They’re asking you their fantastic, fanatic, freakshow fans from all corners of the world to join the Kickstarter campaign. You can pre-order the album, buy special bundles with exclusive signed goodies, and they’ll also be giving Kickstarter supporters regular reports from DeRella world.
2020 has been a hell of a year, and they’ve have missed playing and hanging out with the fans much more than they thought possible. You can join them in the process Here
Texas rockers Holy Roller Baby have overcome the pandemic and unleashed their debut Frenzy. A frenzy it is indeed. Leaning towards funkier Stormbringer era Deep Purple and rounded off with a poppy boogie rock sound, which is sadly where it loses my interest a little.
The album kicks off with single ‘Leper Blues’ leading into a medley with ‘Spread Your Love Around’. The first part I really enjoy, it’s understated with a slow groove and a little left field as promotional single. The second sitting of the first track is where the train comes off the tracks for me, sounding far too commercial and at times dare I say it….. a bit like Jamiroquai.
There are still rocking numbers to be found here and the band really showcase themselves on these choice bits. ‘Blue Devil Inn’ and ‘Run Through The Valley’ drop the funk and channel a ballsier Rival Sons esque sound.
The album was recorded here in the UK and produced by Ian Davenport whose background lies with less heavy acts such as Supergrass and Band of Skulls as well as the painfully polished debut album of the once promising Bleech.
Other stalwart tracks on offer from the record are ‘Id Vicious’ and in particular last year’s single ‘Ravings At Your Window’. Both are worth checking out online and adding to your respective playlists without disappointment.
Overall with an arsenal of material belonging in a dirty dive bar, sadly due to the overly clean production it casts doubt if it would even set through the door. There are some excellent songs here, the only thing missing is the raw grit.
2020 rings in the 20th anniversary of Placebo’s beloved third album Black Market Music. To celebrate, the band has completed filming of a four-part video-series – “Black Market Music Stories” – which sees bassist Stef visit treasured locations and walk viewers through the writing, recording, touring, and personal stories, that would shape the conception of the album. Featuring new and archive footage, it includes interviews with the people who were key to bringing the album into the world – producers, singers and other collaborators, managers and more offer their memories of the time. Episode 1 is available to watch now below. Subscribe to the series in full HERE.
The band comments: “With our chests out, riding high on the success of our second album, we entered the studio to record Black Market Music. We were full of bravado and confidence and proceeded to create our most visceral, dark and poppy collection of songs to date. Here’s a humble nod to its 20th birthday.”
Black Market Music came together as the band saw their notoriety swelling exponentially in the wake of breakout successes with their self-titled debut, and the follow-up Without You I’m Nothing. Reaching #6 in the Official UK Album Charts and spawning the singles “Taste in Men”, “Slave to the Wage”, “Special K” and “Black-Eyed”, it is a record that by the band’s own admission was created during the height of their “party phase”.
Black Market Music was also released into a new world, one in which mainstream chart interest was moving away from late-era grunge and instead setting its gaze on rap-rock and nu-metal, genres that the album resultingly put in its cross-hairs as it rallied against the macho – and sometimes misogynistic and homophobic – image of the scene. The introduction of hip-hop MC Justin Warfield to “Spite & Malice” was done in-part to show that the style needn’t be constantly draped in aggression.
Thee Headshrinkers (Shrink Ray Records) slap on some reverb and hit those cymbals Thee Headshrinkers are here to ‘Save Your Life’ with a groovy lick on the guitar and a song that indeed lies somewhere between Mark E Smith fronting The Cramps and poison ivy joining The Fall and just rocking out without a care in the world. To flip this bad boy over you get more of the same with ‘Head On’ sounding like it was recorded by Ron, Scott, and the Iggster, and even they were too fucked up to remember where they left the tapes. Excellent songs and a great vibe coming out of thee Headshrinkers I particularly like ‘Head On’ they should tour with Thee Hypnotics when COVID fucks off they’d be a lot of fun methinks. get it Here
WARRIOR SOUL – ‘Elected‘ (Livewire/Cargo Records), the track is taken from their covers album called ‘Cocaine and Other Good Stuff‘, out in November ‘Elected’ is the first peek into the album and to be fair to Kory who is no stranger to a cover after tackling some quality songs previously taking on the ‘Coop is a no brainer. Maybe bludgeoning down the smoother edges of the original Warrior Soul have left in those cool horns and knocked out a very decent ‘Elected’ to be fair. Kory turns in a very tidy vocal as well to be fair. If you want to hear it before you pick up your copy of the album stream it here
Zodiac Panthers – ‘Black Leather Heart’ (Bandcamp) Cheeky artwork to accompany a gloriously bubblegum Poppin slab of loud, fun punk rock n roll. Zodiac Panther sounds like Turbonegro when they were kings of everything sleazy and garage punk rock. But there’s a healthy dose of Ramones going on as well but these cats have got it going on and if there is an album heading our way that pulls together this along with the Hexray Vision stuff then they are onto a winner and its something we would need to hear otherwise what’s the point this stuff could very well be the magic potion that fights off this pandemic. Rock and Roll baby and we fuckin’ like it!
Teen Creeps – ‘Seeing Shapes’ (Pias) Harking back to a sound that filled every student uni certainly in America with the likes of Dinosaur Jr or Buffalo Tom with a healthy dose of mid-period Lemonheads thrown in for good measure. Teen Creeps have absorbed the lot and gone down the Teenage Fanclub route of writing a decent song with what they have and ‘Seeing Shapes’ is what spilt out in the studio. this is the first single from the album ‘Forever’ that’s set for an early 2021 release and if this is the benchmark then I’ll be having some of that along with many others. top tune. Facebook
Mad Caddies – ‘House on Fire’ (FAT WRECK CHORDS) 25 years and still standing this Californian band had some big plans for this year (Pre Pandemic) it’s not all bad though because the band were able to work on this EP (their first new music in six years) and finally they finished recording and got the damn thing released. Opening track is a gentle commercial number. The band refers to it as punk rock turned ska and that’s about the size of it. With one eye on the commercial success, they’ve hit a winning formula and the band’s horn section run riot here ‘Waiting For the Real Thing’ is pure pop. I think they’ll be adding a whole heap more to their half a million sales with this. In these dark times, it’s a little ray of sunshine for sure.
J. Graves – ‘Deathbed’ (Illumin Records) Call me lazy call me what you like but J Graves reminded me of PJ Harvey. Certainly on first play but there’s more to this than sounding like someone else because ‘Deathbed’ is a gutsy introduction from the repetitive guitar lick to the guttural howls on the chorus to the trashy drum beat its got something and I like it.
Portlands Jessa Graves has the talent and the post-punk rattle of ‘Time Travel’ has a real vibrant DIY feel to it and the X-Factor of it being a bloody good song. ‘Lo The Morning’ is the third offering and proving that the first two are no flunk. wrapping up the EP is ‘331’. interesting, experimental and above all good. pick it up here at Bandcamp
GILBY CLARKE ‘Tightwad’ (Golden Robot Records) ‘Tightwad‘ is the latest single from Gilby Clarke, and the follow up to his recent singles The Gospel Truth and Rock n’ Roll Is Getting Louder. It was written around a guitar riff he wrote while trying out a new fuzz pedal. Lyrically, it was inspired by deceit, treachery and the creative extremes people will go through to get ahead. Tightwad features Motley Crue’s Nikki Sixx on bass and Stephen Perkins (Janes Addiction) on Drums. Facebook
KING BULL – ‘What Happened Here?’ (Riot Records) Boundless energy and guitars that are louder than everything else x 10. Nowt wrong with that for us. Canada’s King Bull has got a pocket full of catchy hard rockin’ tunes born in the ’70s and fueled by a fuzz box guitar and a bad attitude. ‘Secret Sauce’ reminds me of another tune but I can’t quite put my finger on it. This EP gets better the more you play it and the songs get better as the EP wears on ‘Dontcha Know’ is wonderfully flamboyant from the guitar lick to the vocals its a ripper. I’m only disappointed there isn’t a full-blown ballad on here but these five will keep me going as they save the best ’til last with ‘B Side Baby’ being the pick of the bunch and makes you want to punch the air in some arena wearing the silk scarf you picked up off their merch table. Thoroughly enjoyed check em out! FacebookPre-order/save What Happened Here?HERE
COLOURSØUND is a project created by none other than Billy Duffy of The Cult and Mike Peters of The Alarm, who first recorded under the name COLOURSØUND in 1998 /1999 when both Duffy was on extended hiatus from the Cult and Peters was going through all sorts with the use of the Alarm name.
The project was unveiled with a set at the Legendary Gathering weekend in North Wales when along with Craig Adams and Johnny Donelly it still to this day rates as one of the highlights of any Gathering and I’ve seen every single on for the last 25 plus years. There was a demo CD ep first and then the album that I’m about to review containing a remastered version with a few added bits here and there I guess but listening to it on record is a real joy. What essentially is the best Cult album the Cult never recorded. It might well have been the catalyst to Asbury regaining his Mojo and getting back with Duffy for Cult duty but that wasn’t until I’d managed to catch a whole bunch of shows from Coloursound in sweaty venues with plenty of volume and a handle on the new material. Revisiting this once again all these years later is cool and its lost none of that rawness and joie de vivre it had back then in the late ’90s. So much so that when I heard that under lockdown they had reconvened to record another album but this time its Duffy and Peters minus the talent of Adams and Garrett.
If I’m being honest Duffy brought out the best in Peters and maybe having that creative riff machine to bounce off Peters excelled and turned in a fantastic performance and it has to be said the same vice versa. Duff plays some of his finest licks for many a year on this album and I have even imagined how it would sound if it were Astbury singing these songs would it have been a smash hit? I believe it would have been but them is the breaks, I’m glad we have this album now and the best-kept secret remains in all the participant’s resumes.
‘Under the Sun’ kicks off with a classic Duffy riff – loud – distorted – loud and with plenty of punch a fantastic album opener in anyone’s book. I remember attending a Coloursound weekend in North Wales where we were played the album in its glory and asked to pick which track should go where and I think I remember correctly everyone in that room had ‘Under The Sun’ as the opener. Still to this day a corker. Considering the album is now twenty-one years old it sounds as fresh as a daisy and the remastering has given it a new lease of life. The record sounds bigger than the CD ever did or at least that’s what my vain brain is telling me (sonically Speaking of course). Maybe changing the tracklist for the vinyl is a time consideration for vinyl or the original running order wasn’t what it should have been (can I collect my prize now?)
I have no clue as to who brought what to the table which must be a compliment to the band seeing as they are all capable fo being involved with some of my favourite songs with their respective bands but with the distance of not having played this in some time songs like ‘State Of Independence’ take me right back to those nights in the Barfly in London and squeezing into the back room with the psychedelic lighting and the melody rattling around my head for ages and loving that bridge. One of the albums standout tracks on an album full of stand out tracks.
For the people who aren’t keen to jump on board with Peters and his day job songwriting need to check out ‘Heavy Rain’ and then give themselves a good shake. A fantastic, vibrant and pulverising song that builds and builds with a thunderous rhythm courtesy of Adams bass thump which enables Duffy to keep it simple sure it leans on The Cult formula on the chorus and the bass distortion before that solo is still fuckin’ awesome.
‘Alive’ still has the brooding drama before the punch and who doesn’t like a trademark pause before Duffy unleashes his trademark riff and I would say solo but he does that all over this one. Sounds awesome through my speakers sir. Even if it does seem weird with it ending side one after all this time.
‘Fade In Fade Out Fade Away’ opens side two and always was a great sing-along and again time hasn’t dulled the song at all. from the moment Adams bass enters as Duffy wanders across the fretboard this song was a live favourite and the remastering hasn’t killed any of that live feel when the drums kicks in. Peters best vocal performance on the record hands down. The original long sold out versions came with a bonus single-sided lockdown re-recording of ‘FIFOFA’ but its never going to hit the heights of the original.
I’m happy for the rejig of the running order its breathed new life into songs like ‘For The Love Of’ which might have been overshadowed on the original running order (if that makes sense?) sometimes its nice to just put on your shit kickers and do it!
The album does chill for a bit with ‘A View From A Different Window’ I always liked the rhythm and the acoustic guitar fits in nicely. I’ve no clue why but it always reminded me of Bowie maybe from his Tin Machine project but I always loved this song. with only a couple of tracks left I guess it’s fair to say I love the fact that this record finally gets a vinyl release which it most certainly deserves. The news that it will soon be joined by Coloursound two is a beautiful thing and I’m excited to hear what they’ve come up with a couple of decades later. Now if this virus would kindly fark off maybe just maybe we could accompany the release of Coloursound two with a live show or two that would be jolly nice please Gents.
The good news just keeps coming for these city Herberts with the release of a new song ‘UNION DUES’ – LISTEN HERE
Their album ‘SPEED KILLS’ will be reissued on Nov 20th Eagle-eyed viewers will clock famed West London venue Bush Hall in the video and the band are thrilled today to announce a live show there for May 15th 2021.
Fronted by local electrician Charlie Manning, Chubby and the Gang have been leading a pack of bands coming out of a new wave of British Hardcore. Underneath an unrelentingly fun concoction of hardcore, pub rock, doo wop, and blues, Speed Kills boasts songs of deep substance and political conscience with a precise sense of time and place. Produced by Jonah Falco of Fucked Up, it has also proved to be one of this year’s surprise critical hits.
The album was remastered for vinyl at West London’s Metropolis Studios. The standard edition will be available on yellow vinyl and include a cartoon sticker sheet. There will also be a limited-edition version that includes a black-and-white colour-in sleeve with crayons.
Chubby and the Gang will return with a new album in 2021 – more details on that coming shortly.
Manic Street Preachers have moved their previously announced shows in December at the Cardiff Motorpoint Arena to Friday 16th and Saturday 17th July 2021. This is due to the ongoing Covid 19 restrictions for the live music industry.
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