‘Down on Commonwealth’ is the first single off ‘Under The Neon Heat’, the upcoming full length from this group of Orange County veterans. Under The Neon Heat hits the streets July 16th 2021. Go to Road Dog Merch to pre-order Hot Pink Vinyl, CDs and apparel. Here
From first glance, these New York state natives look like the result of a lover’s tryst between the Dead Boys, Turbonegro and Judas Priest. And from the moment album opener ‘1982’ kicks in, the listener is never let down.
“Lose Control” is taken from the new Radio Days album “Rave On!” Out on Ammonia Records – 21st of May 2021 www.ammoniarecords.it
DARK HORSE RECORDS CELEBRATES THE RELEASE WITH A NEW OFFICIAL VIDEO FOR ALBUM TRACK ‘I FOUGHT THE LAW’, RECORDED LIVE IN LONDON IN 2001 BY JOE WITH HIS BAND THE MESCALEROS
Southern California Punk Rock act INFAMOUS STIFFS have released a storming new single and all-star video ‘Freak Parade’, available now on all digital platforms via Die Laughing/Golden Robot Records.
Every now and then you get touched by a Rock and Roll record that’s unexplainable in as much as it makes you feel on top of the world but you have no idea how or why the songs touched you in such a way that you wanted to do nothing else other than listen to the record and play it, again and again, and again. Well, the Blips did that to me from the first time the opening song ‘Inside Out’ came hurtling out of my speakers.
Quite why they had this effect on me I don’t know. they’ve not even recorded anything groundbreakingly original or anything of the sort. What they have done is pen ten stonkingly good power-pop tunes that just ooze class from the melodies to the arrangments to the production it’s just such a great album. The verses are spot on as are the melodies and the solos are just right never over noodling and always to the betterment of the song. Take the break on ‘Throw Me Around’ it goes into a duel solo that just grinds out until it falls back into the most excellent chorus. I mean it’s not about anything in particular but it sounds like the most important song ever for three and a half minutes.
Maybe its the fact that five frontmen have formed a band? Probably should be a disaster where egos get in the way – but, no not at all – maybe the stars have aligned for this one album? The group formed after Will Stewart – an accomplished songwriter and guitar player who has released several acclaimed records under his own name and with the Birmingham-based group Timber – sent a few curious text messages inviting a group of friends and collaborators to convene and write some tunes together. That group included: Taylor Hollingsworth, Wes McDonald, Eric Wallace, and Chris McCauley.
For over 20 years, Hollingsworth has built a dedicated following by composing incomparable rock, blues, punk, and pop music under subtle variations of his name. He also writes and performs with Dead Fingers and Conor Oberst’s Mystic Valley Band (among many other projects and groups). He’s considered by many to be one of the nation’s most innovative and adventurous guitar players.
McDonald, who plays drums in The Blips, has been making records under one moniker or another — including Terry Ohms and Vulture Whale — since 2000. His studio, Ole’ Elegante, in Birmingham served as ground zero for The Blips as they wrote, practiced, and recorded their first 10 songs with Les Nuby engineering.
McCauley, the leader of seminal Birmingham band Holy Youth, and Wallace, a well-respected guitar ripper who’s toured the globe, were already collaborating on a one-and-done punk project called Bad Hops when The Blips formed.
McCauley’s sensibilities are informed by bratty punk music and simple, yet melodic, lead guitar riffs. Critics and friends have described his singing voice as “squirrely” – a criticism he cherishes. The Blips between late-2019, and, February 2020, had written and recorded ten tracks – two weeks prior to the COVID-19 pandemic shut down. Through persistent text messaging and emails, they found a way to mix and master the songs from a distance, resulting in their first full-length record. the very record I’m gushing over right here!
The Blips sharing lead vocals, guitar, and bass duties, this surprisingly cohesive and high-energy album ranges from straight-forward garage rock to hit-and-run rockers to pop ballads with massive lead parts and gang vocals. Imagine reinventing ‘Wild Thing’ and calling it ‘Wild Thing II’. yeah, they have and what are you going to do about it? All the genres within power pop are present from the punky ‘Yes, Yes No Yes Yes No’ to the more Costello meets Stranglers like strains of ‘Out To Sea’. ‘Gold Rush’ is more laid back like Neil Young meets Teenage Fanclub if you like with a smart chorus. Man, ‘Patty’s Patio’ is snotty 80s’ new wave-inspired goodness and the perfect aperitif for the closing song ‘One And Done’. Right, I can’t sit here typing all night I’ve got to listen to the Blips album again and again for good measure. I suggest you check it out – you might get bitten like I did or you just might not get it at all, that would be sad but hey music isn’t for everyone but if you don’t like this album then I feel sorry for you because it really is a belter.
cornelius chapel records / Bandcamp
Author: Dom Daley
RPM Online: Firstly. Tell us a little about the band. How did the band form? What influences brought the band together?
RPM Online: Who writes the songs in the band? What influences do you draw on?
US CD on Dead Beat Records
http://www.dead-beat-records.com
The album is also available at Amazon, iTunes, Apple Music, Deezer, Tidal, MediaNet, Napster, Spotify and other digital stores.
EXCLUSIVE CD PRE-ORDER LINK: Here
John Coghlan is a Status Quo founder member and a quarter of their much-revered ‘Frantic Four’ line-up.
His Quo legacy includes countless tens of millions of records sold, dozens of Top Of The Pops appearances,
23 hit singles and 26 hit albums – over half of which reached the UK Top 10, with four hitting UK Number One
and similar levels of phenomenal success in many other territories worldwide.
Now John Coghlan returns with his own phenomenal band and his first new, original studio material in 30 years.
The thundering, riff-heavy, word-of-mouth hit “Lockdown” has already notched up over 150,000 video views
and topped Classic Rock magazine’s prestigious “Tracks of the Week” poll.
It is paired with “No Return”, the brand new driving single once again recalling the authentic,
no-nonsense rocking sound of mid-70s Quo.
Line-up:
John Coghlan (drums), Mick Hughes (guitar, vocals), Rick Chase (bass, vocals), Pete Mace (guitar, vocals)
A rough and tumble collection of memories, poetry, and fiction from Sonny Vincent. Now I wasn’t going to turn that down to review was I? No sir. Sonny Vincent one of those Rock and Roll rebels whos always operated outside the box be it when Punk was kicking off he was punk rock personified and yet never got the credit others got even if they weren’t worthy of lacing his shoes. He didn’t complain because he knew the life he was choosing – or what chose him wasn’t your ordinary life but one of a true artist, writer-creator of music that meant something. Sonny isn’t one for complaining and when life throws him lemons he puts them under his heel and makes lemonade.
He not been creating or releasing much over the past few years due to family business he took care of but there was still plenty of music hitting the streets be it Testors tributes or pre-Testors records. Solo releases and collaborations that are hitting the shops as I type like The Limit but nobody saw this pocket sized little piece of writing Sonny was working on to go hand in hand with his music. ‘Snake Pit Therapy’ is a neat little tome that fits right in your back pocket. For when you’re riding the subway train or sitting on the bus its just shy of 100 pages but it’s like a bit of Bukowski – dipping and out and for raising a giggle or a wry smile out of the corner of your mouth because the owner of one of these cool books just knows.
Starting off when Sonny was twelve and stories of skipping school not fitting in all the things you kinda knew that made the man. You don’t have to concentrate or rush to finish the chapter because there aren’t any and it’s like a conversation with someone you know but don’t know. Its a cool concept and the writing is engaging and fresh which makes all the difference. If Sonny was on the same bus as me I’d always sit next to him and listen to his ramblings – you know these ones he’s written in this here book. The stories are cool like his piece on Rock Action. I’m not sure I’ve ever heard a writer gush over drummers before but hey why not? Music needs em as much as the bass player or the guitar slinger right? Right. I’m sure if Scott can read this from wherever he is in the afterlife he’d be chuffed and his soul warmed by the tribute.
Sonny Vincent is one talented guy and his writing is another string to his bow be it musician, songwriter and now author added to his resume. Trust Vincent to think outside the box again buy it if you can kids it’s a pocket rocket of sunshine writing from one of America’s real genuine talents.
Buy It Here or from the publisher Here
Author: Dom Daley
With their new album Endless Arcade due for release 30th April, and having previously shared videos for the tracks ‘Home’ and ‘I’m More Inclined’, TEENAGE FANCLUB today share another new track, “The Sun Won’t Shine On Me”, from this much-anticipated LP.
A wistful gem written by Norman Blake, “The Sun Won’t Shine On Me” comes with a visualiser created by long-time collaborator Donald Milne.
Of the track Norman Blake says: “This is something of a rarity for Teenage Fanclub – a song in waltz time!”
Endless Arcade is the long-awaited follow-up to the band’s album “Here”, released in 2016 to universal acclaim and notably their first UK Top 10 album since 1997, a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching, guitars chime and distort, keyboard lines mesh and spiral, harmony-coated choruses burst out like sun on a stormy day.
Teenage Fanclub recently announced news of their rescheduled European tour which includes UK and Ireland shows in September 2021 and April 2022. Dates below:
2021:
7th September 2021 – Manchester – Academy 2
8th September 2021 – London – Forum
14th September 2021 – Edinburgh – Usher Hall
15th September 2021 – Aberdeen – Music Hall
16th September 2021 – Glasgow – Barrowland
2022:
8th April 2022- Sheffield – Leadmill
9th April 2022 – Leeds – Beckett’s
10th April 2022 – Nottingham – Rock City
12th April 2022 – Birmingham – Institute
13th April 2022 – Norwich – Waterfront
14th April 2022 – Bath – Komedia
16th April 2022 – Brighton – Chalk
17th April 2022 – Portsmouth – Wedgewood Rooms
20th April 2022 – Belfast – Empire Music Hall
21st April 2022 – Dublin – Academy
Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.
In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts – insecurity, anxiety, loss.
“I think of an endless arcade as a city that you can wander through, with a sense of mystery, an imaginary one that goes on forever…” says Raymond McGinley, one half of the band’s songwriters for this album alongside Norman Blake. “When it came to choosing an album title, it seemed to have something for this collection of songs.”
Adrian Smith is best known as the most tasteful (in my opinion!) guitarist in a band you may have heard of, Iron Maiden. He has written some of the band’s best material (also in my opinion!), and when he left Maiden in 1990 to pursue a solo career with his band Adrian Smith and Project (A.S.A.P.), Maiden’s downhill trajectory soon followed. When he returned to the Maiden fold in 1999 (along with vocalist Bruce Dickinson) they became the biggest metal band on the planet again.
Before he took Dennis Stratton’s place in Iron Maiden back in 1980, Smith was the lead vocalist and guitarist in his own band Urchin, who themselves had some limited success. Smith’s vocal prowess has been highlighted with Maiden over the years as a more than capable backing vocalist, and he sang lead vocals on the fantastic B side to ‘Wasted Years’ – ‘Reach Out’ back in 86.
He shares vocal and guitar (bass and lead) duties on this collaboration with former Mike Varney prodigy, Poison, Mr Big and Winery Dogs guitarist/vocalist Richie Kotzen. Kotzen’s first ever concert experience was Iron Maiden’s renowned World Slavery tour back in 1985 and he’s come full circle by writing and performing with one of the guys on that very stage. Not that he’s been a slouch himself with a pedigree that’s world class.
The pair met in an LA restaurant (as you do), got chatting, jamming, writing, and recording and the result is an album that shows both Smith and Kotzen in a light we haven’t seen before. A stylish blend of classic rock, blues rock, and straight up R & B mixed with the combined talents of Smith and Kotzen produces a strong album with some fantastic performances.
The album was produced by Smith and Kotzen themselves with long time Maiden producer Kevin Shirley handling mixing duties. Smith’s Maiden buddy Nicko McBrain makes a guest appearance on the track ‘Solar Fire’ and Tal Bergman (Billy Idol, Simple Minds) lends his tub thumping talents to the songs ‘You Don’t Know Me’, ‘I Wanna Stay’ and ‘Til Tomorrow’. Kotzen plays drums on the remaining songs…so talented, makes me sick! Ha ha!
Opening up with ‘Taking My Chances’ and ‘Running’ there’s a definite nod to the bands of the 70s that have obviously influenced the duo. Bad Company and Free come to mind with some great bluesy licks. It’s not hard to differentiate between Smith and Kotzen in both voice and guitar styles, Smith has a more refined vocal style while Kotzen has echoes of the late, great Chris Cornell is his delivery. ‘Scars’ is the standout track for me with it’s haunting melody and Hendrix style lead work. This one sticks in your mind after a few plays, the guys trading licks at will. Great stuff.
‘Some People’ lays down a thick groove with an almost funky feel. More guitar wizardry is again tastefully added to the track without overpowering the song. ‘Glory Road’ is a straight-ahead rocker with some added swagger and lyrics about how to be successful in a band, (they should know!) A catchy, sing a long chorus make this another highlight. You can feel the chemistry between the pair, and it translates well onto record even though they recorded much of the album with five thousand miles between them due to the pandemic.
‘Solar Fire’ really benefits from sticksman McBrain’s powerhouse drumming, you certainly know he’s there! There’s a throwback to his days with the Pat Travers Band here, a great 70s vibe. ‘You Don’t Know Me’ is another track that has a less is more approach that works well. The songs aren’t just vehicles for the pair to show off their chops, they really are playing for the songs. That said, this track is a little on the long side. ‘I Wanna Stay’ really shows how soulful Smith can be, he really does have a fantastic voice which wouldn’t work in the Maiden set up. The album closes with ‘Til Tomorrow’ another classy number with an almost dreamlike quality. Apparently, the recording sessions left the duo with ‘tracks to spare’ so I’m sure this album won’t be a one off.
The guys really want to take the project out on the road when restrictions are (finally) lifted and I think these songs will work fantastically in the live arena. As Richie says, “When the time is right, and it’s safe, we’ll have a conversation about some players – male or female – that will help us take this to the next level and bring the music to the stage. We both want to play live, we both miss it terribly actually. Before all this stuff happened I said I was ready to take a break from the road – but I’m sure as hell ready to go now!”
Aren’t we all Richie, aren’t we all…..
Buy Here
Author: Kenny Kendrick
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