Black Spiders – Andy “Ozzy” Lister – Interview exclusive

Black Spiders – Andy “Ozzy” Lister – Interview exclusive

Firstly, What brought about the reunion?

It was a total shock to me to be honest. I for one was missing being in a band but hadn’t said anything to anyone else. Then I received a message from Pete asking whether I’d be up for getting Spiders back together. I said I was, but only if everyone else was too. To my double surprise, the messages came in one after the other from the other guys, so we were on. Obviously, it didn’t pan out with Tiger Si which was a real shame.

 

 

Was there a plan when the band got back together for a new album?

As soon as we’d decided to give it another go it was business as usual, which with us means; album, tour, repeat.

 

How did the record come about?

When I say it was business as usual it soon became apparent that our usual way of working wasn’t going to be possible. One factor was Tomo didn’t live in the UK anymore so we needed to find a new way of doing things. This was initially Pete and I meeting up and going through ideas we had and that Irwin and Tomo had emailed through. It was going well and then COVID happened. It didn’t take long for us too realise that we could carry on writing the way we had been apart from the meeting up part. Soon we had more songs than we’d ever had as a band going into a studio to record an album. As soon as the restrictions allowed it we went into the studio and laid down the first three tracks. At that point I’d never even met Wyatt.

With liver performances being such a big part of the band was it difficult to plan a new record knowing you wouldn’t be able to hit the road?

It didn’t really affect the planning part it’s just been really strange to finish an album and not have any gigs to play. I hope it hasn’t damaged us too much, I do worry that being away means we’ve been forgotten about some what. Usually we’d make a statement through doing gigs, without that I feel we’re a bit like Samson after a scalping.

 

What about live streaming this release show was that a tough decision to make? again it’s such a weird time did the lockdowns afford you the time to get the songs to a point where you were super happy with them and not be rushed which might have happened if you’d book shows and a tighter deadline?

We’re not doing a live stream show, it’s just a virtual release party. Personally, I hate all this Zoom stuff, I’ve not had one good experience with it as I can’t seem to engage the same way I do when people are in the room. I’m sure it’ll be fine though as long as I don’t have to say anything.

 

We’ve never really had deadlines as we’ve never had a label telling us what to do. That’s good and bad at the same time because it means we also don’t have a label telling us what to do. We have to find our own way and make our own timetable. Or not. With these songs, we didn’t overthink them and that meant the process has been fast for us but not rushed.

 

Tell us about the new record?  What songs are on it and how were they written did you do anything differently this time? I guess, trying to be positive what excited you about writing and recording the new record?

There are thirteen tracks on the new album. One of them is a cover which is something we’ve never done on an album before. At first, I was against it but I’m trying to be more open-minded and less “blinkered” in the way I see the band.

 

The writing process was very different, as I suggested earlier. I think it helped us to bring our ideas into focus more. There’s been less compromise and with that the ideas are more direct. I think it’s as good as anything we’ve ever done before at the very least. It really is an album of the 21st century, even though it doesn’t sound like 21st-century music. We wrote it all via email, playing guitars and singing into computers, playing along to an electric drum kit. Who would have thought technology would actually be helpful!

 

Recording the album was a great experience, from the first day when I met Wyatt for the first time, heard him play and thought to myself “we’re going to be alright”. As well as that it meant we could get out of the house and have some sort of feeling of normality, all be it socially distanced. We had this new mindset where positivity ruled. In the past it was just the opposite; if one person didn’t like something, it was gone. Matt our producer said he’d never worked with such a negative band before and I for one was determined to turn that on its head. I’d been one of the main culprits for the closed-minded approach and I wanted to change that and enjoy it, especially after not having it in my life for a few years.

What songs should fans look for on the record?  ‘Good Times’ looks like you guys had a blast making it especially the video? It sounds fresh and the energy levels of the song are excellent, were any other covers considered?

My favourites are ‘Wizard Shall Not Kill Wizard’, ‘Free Ride’, and ‘Stabbed In The Back’ but I like all the songs if I’m honest. I love my band, it has all the bits in it of all the bands I love.

Good Times was Pete’s suggestion. At first, I was against it, but keeping the new positive direction in mind I said yes and quickly realised that it was a real “good times” song (sorry) and fitted into the Black Spiders songbook really easily. The video was fun, at first I recorded my bits pretty straight, in jeans and a T-shirt, then I saw a rough edit and Tomo’s outfit. I instantly thought “this needs a fur coat.”

 

I could be wrong as my memory is terrible, but I don’t think there were any other covers on the table.

 What would you say is the main thing new band members bring to an established lineup? Is the approach to making the new album very different from when you recorded ‘Sons Of The North’?  Does it seem like over a decade since you did that album? 

That’s a tough question to answer, as I’m writing this we still haven’t been in a practice room with Wyatt. That being said, he’s a big character. He has to be to fill Tigers shoes.

 

A band is the result of the people who are in it. It’s not going to be the same without Si but you have to embrace the differences and run with them. I’m sure Wyatt will bring his own thing to the band, at this point the only thing I can tell you is that he’s an incredibly thorough and hard worker.

 

Recording this album and Sons couldn’t be more different. As I said earlier the outlook of the band was very different back then, but there were obvious things like T being in Spain and Si not being there.

 

It doesn’t not feel like a decade since we made SOTN, it feels longer. A lot has happened since 2011.

 

You play a tonne of festivals but sadly it looks like a lot of festivals are coming just a little early what with the vaccines and hopefully a return to some kind of normal where we can all get back inside venues.  What do you miss about live shows and any particularly fond memories?

I miss that feeling that we might just have won some people over, that someone believes that I mean it, that they can see I’m still trying to bang my head harder than I should.

 

There are so many memories, when we headlined the Jager stage at Sonisphere has been in my head a lot lately, that was a really good “Fuck You..”

Going back to the new album there are some influences that come through but there is quite a diverse bunch of influences I heard from Sabbath to cheap trick and some commercial tones like ‘Fly In The Soup’ would that be fair but remaining really cohesive and the album has a really good flow to it,  is it a difficult process picking what stays and what doesn’t make the cut and giving away non-album tracks as a pre-sale is a really cool touch was there a lot more material written and recorded?

 

Choosing the album is always tough. It was more difficult this time as we had so many songs to chose from. With the new mindset I’ve been talking about I felt it was important to have nothing compromised or diluted when it came to the final cut. We needed a pure vision and in that case, you need a dictatorship. This wasn’t popular in the band but in my opinion I think it paid off.

 

Finally,  I wish you all the success with the new record and I’m sure fans old and new will love it.

That’s really kind of you to say. Thanks for taking an interest.

 

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order the new album Here

photo by Mark Latham (marklatham.co.uk)

Tyla’s Dogs D’Amour – pre-release for new studio album ‘Tree Bridge Cross’

Tyla’s Dogs D’Amour – pre-release for new studio album ‘Tree Bridge Cross’

Happy Apocalypse.. 

Some news to cheer you up…

The new Tyla’s Dogs D’Amour studio album ‘Tree Bridge Cross’ will be released on July 30th!… It’s the follow-up to 2019’s ‘In Vino Veritas’ and is available as a Gatefold 12” on Blue Vinyl, Limited-edition double CD & Single CD.

Welcome to 2021. The 21st year of the 21st Century, the International Year of Peace & Trust, the Chinese year of the Metal Ox and the year Tyla’s Dogs D’Amour release new studio album ‘Tree Bridge Cross’

Following the UK chart success & critical acclaim of their last full-length studio album ‘In Vino Veritas’  this new album is another incendiary, 111% proof, guitar-fuelled, alcohol-soaked adrenalin shot.

Tyla’s trademark songs of hope & heartache, demons & debauchery and conflict & chaos are taken to new heights by a band in full flow. Big choruses are delivered with power. Tender-hearted lyrics with emotion.

Official release date is July 30 but you can pre-order now and follow the band’s imperfect journey from creation to completion. Anyone pre-ordering the album will be sent regular missives from Tyla Towers. Updates on artwork, songs in progress, recording out-takes, general musings, napkin drawings and unfunny jokes will all stream your way over the coming months.

Just add your email Here

 

And pre-order here:  https://cargorecordsdirect.co.uk/products/tyla-s-dogs-d-amour-tree-bridge-cross

There have been having a number of technical issues with the Art Tavern and Tyla has decided a complete re-build is needed…

In the interim, you can see all his art here: https://www.etsy.com/uk/shop/TylasArtTavern

And if you would like anything from the old Tavern in the meantime just drop him a line and he’ll do you a deal! TylaJPallas@hotmail.com

Local Drags – ‘Keep Me Glued’ (Brassneck Records / Stardumb Records)

Local Drags – ‘Keep Me Glued’ (Brassneck Records / Stardumb Records)

Local Drags.  A band or artist I’ve admired for a while.  As far as I’m concerned ‘Shits Looking Up’ was one of those underground diamonds you stumble across from time to time and every track is a banger and it blows your mind for no specific reason other than its full to bursting with great songs and style.

 

How can it be possible that this guy isn’t more widely known?  He plays good old wholesome heartfelt Rock and Roll like Gin Blossoms and a power popped Replacements mixed with the same qualities Beach Slang gets praised for.

 

 

Its loud pop songs pure and simple maybe an 11 on the Marshall Amp-omiter where you might find say, a Teenage Fanclub on a 9 – it’s that kind of ballpark.  Don’t believe me just test drive ‘Breakable’ and get back to me.  Some of the melodies remind me of prime-time Posies.

 

 

The hyped-up Americana of ‘Think Straight’ is a bit of bop til you drop that’s infectious and just downright good vibrations it’s as simple as that. Every song is like a notch up the ladder from the previous one until you start again and go back to the start and realise this is a wonderful demonstration in songwriting of catchy, pop hook, tunes and its a simple formula guitar, bass and drums.  Nothing fancy just let the song do the talking – no need for special effects or layers of synths or sequencers adding compressed drum tracks just rock and roll telling stories and having a great time.  Like magic just as I put the world to rights ‘My Skull’ has a synth haha! but don’t be fooled it’s only there as a texture.  with a great hook on the chorus, it’s such an uplifting record.

 

 

The album closes with some big acoustic chords on ‘Way Homer’ as you wait for the band to crash in on the chorus but it doesn’t in fact it just rolls up gently to its conclusion capping off another terrific record from Local Drags.  OH and as a cool aside the inner sleeve is a lovely reproduction of the suit worn on the outer jacket.  – Nice touch that on a really nice album.  Buy It!

 

For the UK try HERE

And for The USA HERE /  Bandcamp

Author: Dom Daley

DEADWOLFF – ‘DEADWOLFF’ (Metal Assault Records)

DEADWOLFF – ‘DEADWOLFF’ (Metal Assault Records)

Old school heavy rock? NOSHR  (New Old School Heavy Rock)  Call it what you like just as long as it rocks.  Fuck being ironic these cats are the real deal.  Headbanging in unison,  prison tattoos, top lip fuzz action, From the opening salvo of ‘Walking On Nails’, I get it.  These guys just wanna turn up those amps and rock out its like classic ‘eavy Metal Motorhead style but with a twist. (The twist being t’s not 1982) there’s plenty of cymbals crashed and the bass has that Algy Ward grunt on the bass guitar and they go heavy on the ride. This three-piece rock combo hail from Toronto Canada and they fuckin’ well rock!

 

With only five tracks on the EP they’re so metal it’s only available on cassette and download.  Of course there’s a video with beer in it what do you think these gentlemen are? The only thing missing is a bevvy of babes serving the beer whilst they play poker.  Flyin’ V’s and bullet belts I’m loving this more every time I press play and with a digital copy I don’t even need a pencil to wind the tape tight.

 

With songs like ‘Pedal To The Metal’, it’s like being teleported back to the early 80s when breaking the law was a thing and bands like Gillan ruled the world and every pub and club on disease island was hosting bands like Gravedigger and Tysondog.  Maybe the time is right for a revival and DEADWOLFF will be at the forefront with their fingerless leather gloves aloft.

 

‘Wanted Man’ isn’t a Ratt cover but a bludgeoning riffola fest of filthy animal lite double bass four to the floor.  I’m glad they didn’t see fit to throw in an instrumental nor a seven-minute prog bore-fest.  Deadwolff isn’t that kind of band they just play loud Rock and Roll and do it very well thank you.  Bang your head kids the bastard songs of Tank and Motorhead are here to save the day Deadwolff is their name – Thank God! Now FOAD as they say, Oh, and I hope they are their real names – Thomas Wolffe and Bobby Deuce you guys Rock Like Fuck!

 

Buy deadWOLFF Here

Author: Dom Daley

The Dogmatics – ‘Est 81’ (Rum Bar Records)

The Dogmatics – ‘Est 81’ (Rum Bar Records)

It’s always great to come across an act like the Dogmatics, new to yourself and a complete revelation. With an air of East Coast Replacements about them, with rockabilly elements and enviable songwriting skills. Much like the aforementioned Mats, you come to the conclusion: how have I, or indeed everyone never heard of this group.

This retrospective is a strong compilation for newbies and completists alike of the early 80s’ Boston-based group. Wielding different genre specifics, vocal styles track by track like a guitar-heavy Squeeze in their approach. Opening the record with dance floor friendly New Wave numbers ‘Sister Serena’ and ‘You Say’ (think Plimsouls, the Romantics), moving on to gruffer sounding but still resonating material like ‘MTV OD’ and ‘King-Sized Cigarette’ before to descending into the very “of the time” cowpunk tinged tracks like ‘gimme the shakes’ and ‘Pussy Whipped’.
Further on we enter the completists territory, novelty songs like ‘Hardcore Rules’ and ‘Shithouse’ not likely to win over any new fans, but serve their purpose in a retrospective for those who have been with the band every step of the way.
After this brief trough, the record certainly peaks again in the form of what should be an alternative rock classic ‘Everything Went Bad’, with tinges of Mission Of Burma and even a little bit of Buzzcocks, this one is certainly going to be on the playlists for new converts. Followed through with the melancholic and bitter-sweet “Cry Myself To Sleep”, making you appreciate the good times whilst reminding you of times that you couldn’t possibly envision things improving.
Overall this retrospective is a strong portrait of a band that is walking proof to the more obsessive music fan that the cream does not always rise to the top. Get your hands on this release. You will not regret it.
Buy The Dogmatics Here
Author: Dan Kasm

Paul Ronney Angel  – LIVE IN LOCKDOWN – live stream Sat 20th March 8pm (GMT)

Paul Ronney Angel  – LIVE IN LOCKDOWN – live stream Sat 20th March 8pm (GMT)

Paul Ronney Angel 
from
The Urban Voodoo Machine
Celebrates the Anniversary of
LIVE IN LOCKDOWN – live stream
Sat 20th March 8pm (GMT)

Yes Sisters and Brothers, it’s been a whole year since our Prime Minister BoJo made his “Stay At Home” announcement! One day later The Urban Voodoo Machine main man Paul-Ronney Angel (P-R) took to the stage in his East London living room with fellow musician and partner Ane Angel to entertain a locked down community starved of live music.

The show was a storming success and a weekly engagement was born. Throughout the year P-R and Ane have delivered a bourbon-soaked foot stomper of a show every Saturday night featuring Urban Voodoo classics and freshly written tunes making comment on the pandemic. Social distancing permitting, guests have been invited to perform, including Rat Scabies of The Damned, widow and backing singer of James Brown, Tomirae Brown, Jim Jones (Jim Jones Revue) and various members of The Urban Voodoo Machine themselves over the year.

Be sure to tune into The Urban Voodoo Machine’s facebook page this coming Saturday at 8pm and every Saturday till this pandemic’s beaten (Anniversary show / Episode 53 is Sat 20th Mar) – each week is special and who knows what’ll happen!

Other dates for the diary include Paul-Ronney Angel’s debut solo album ‘London Texas Lockdown’ out in June and The Urban Voodoo Machine’s new studio album ‘$nake 0i£ €ngine’ released September.

Ricky Warwick – ‘When Life Was Hard & Fast’ (Nuclear Blast Records)

Ricky Warwick – ‘When Life Was Hard & Fast’ (Nuclear Blast Records)

Ricky Warwick is one of those artists that we all know from one of his many guises in the Rock ‘N Roll world. For me, Ricky will always be the growling, tattooed frontman of The Almighty, a band I saw live many times and I was a big fan of their first three albums. They established themselves in the late eighties/early nineties and were very successful. They toured with such luminaries as Motorhead, Megadeth, The Ramones, etc, as well as many headline tours of their own.

After the Almighty ceased to be, Ricky could have easily sat on his laurels but he began a solo career in 2003 with his first solo effort – ‘Tattoos & Alibis’ and has since gone on to release a further seven (eight including this latest album) solo albums. In 2010 Ricky got a call from Thin Lizzy’s Scott Gorham who was putting together a reformed version of the band. Ricky fronted Thin Lizzy in a live setting for a few years and the band wanted to start writing new material. Out of respect for the Thin Lizzy name, they released new material under the Black Star Riders moniker, with their acclaimed debut album ‘All Hell Breaks Loose’. BSR has since released another three albums and are an established band in their own right.

With his latest solo album, Ricky drafted in Keith Nelson (Ex Buckcherry) to produce.

“Ricky is a true Rock-n-Roll soul…he’s got incredible stories to tell and a unique way of telling them. It’s been an honour to be asked to partner and contribute to this record.”  (Keith Nelson).

Ricky has brought in his old friend Robert Crane (Black Star Riders) on bass and Xavier Muriel (Ex – Buckcherry) on drums. With top-notch performances all around they have created a strong body of work with some fantastic songwriting. Catchy, short, and to the point, this is a well-rounded collection of songs that will be going around in your mind long after listening.

With guest spots from Joe Elliot (Def Leppard), Andy Taylor (Duran Duran), Luke Morley (Thunder), and Dizzy Reed (Guns N Roses) the album just oozes quality.

The album opens with the title track and it instantly sets the tone for the rest of the album. An anthem about chasing your dreams and losing friends along the journey of life, it’s one of those driving with the top down sing along tunes that everyone can relate to. With Joe Elliot contributing backing vocals it’s a fantastic introduction to the album.

‘You Don’t Love Me’ is straight to the point, a one-sided relationship that isn’t working is the theme, more fantastic performances here with a blinding guitar solo from Thunder’s Luke Morley.

‘I’d Rather Be Hit’ is next up, an up-tempo track with lyrical content around how the world is in such disarray politically. (You’re not wrong there Ricky),  Duran’s Andy Taylor contributes with a guitar solo that has his distinct style all over it.

‘Gunslinger’ is a cover of a Mink Deville track that Ricky has wanted to cover for some time. He does a great job, if you’re not tapping your foot or nodding your head along to this then you’d better check your pulse! Brilliant. ‘Never Corner A Rat’ has an early Therapy? Feel to it, chugging rhythms and pounding drums, and rasping vocals. Another stand out track.

The next song ‘Time Don’t Seem to Matter’ is a revelation. Ricky’s youngest daughter Pepper joins her father on vocals for a deeply personal and moving track. The lyrics around being away from family and the difficulty of being a musician and father are explored here. A real stand out moment and lyrical content that every father will relate to. The version used on the album is a demo. Ricky tried to re-record the song, but he felt that the demo had the best vibe.

We get back on familiar ground with ‘Fighting Heart’ a track about sticking to your guns and not compromising yourself for others. A guitar melody that sticks in your head is the foundation of the song with some powerful drumming from Muriel.

Dizzy Reed adds keyboards to ‘I Don’t Feel at Home’, a mid-paced grower that deals with the horrors of drug addiction and the shame it brings. ‘Still Alive’ kicks off with some great slide guitar from producer Nelson and the song is based around the film ‘Hell or High Water’, another great driving track. ‘Clown of Misery’ is a demo that Ricky sang into his phone and sent to producer Keith Nelson. A very simple melody strummed aimlessly on an acoustic guitar works wonderfully well.

The final track ‘You’re My Rock ‘N Roll’ has an up-tempo, almost Wildhearts feel to it and is a fantastically bombastic end to the album. The 2CD digipak version of the album also has a bonus disc – ‘Stairwell Troubadour’ with Ricky performing cover versions of an eclectic mix of songs such as: ‘Summertime Blues’ (Eddie Cochran), ‘Wrathchild’ (Iron Maiden) a version of ‘Jesus Loves You…But I Don’t’ by his old band The Almighty and erm.. ‘Oops I Did It Again (Britney Spears)! They all work wonderfully well played acoustically.

Ricky Warwick has proved yet again that he’s no one trick pony. A fantastic album from start to finish that sits well with his extensive body of work.

Buy ‘When Life Was Hard & Fast’ –  Here

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Author: Kenny Kendrick

 

Twiggy Branches – ‘Hello From Sunny Sigils’ (Self Release)

Twiggy Branches – ‘Hello From Sunny Sigils’ (Self Release)

New York New York so good they named it twice.  when I think of the big apple I think of Travis Bickle, the Statue of Liberty, Empire State Building, CBGB, The Ramones, Dictators, The Dolls, Johnny Thunders, Warriors, Central Park, and a stack of bullshit-free rock and rollers who kick out the jams mother fuckers!

Twiggy Branches are chewing out the rhythm down to rock away beach with their sloppy, garage, punk rock n roll slice of the big apple with a dash of Jayne County and more than a slug of the Dictators going on. From the hectic opening of ‘The Patient Twiggy Branches’ it’s glamourous with a hint of danger and when you get into the dark and dangerous ‘Am I Going Sane?’ with the lovely rumbling bass that walks all over the lower east side.  for Gawds sake it’s got cowbell and I’m loving it a little more with every play.

 

‘I Was Mary Shelley In A Past Life’ is a thunderous attitude adjusting Rock and Roll that makes me want to throw my arms in the air and hail that yes I’m a believer and let the Rock and Roll rain down on me. ‘Runt Of The Litter’ is some 70s’ inspired glam that has some Alice Cooper meets Bowie or Mott The Hoople going on hell Bolan would boogie to this.

I think my favourite on the album is the bass heavy ‘Therapeutic Drag’ as it thunders out of the speakers flexing its bicep like its the cock of the walk.  A great mix of old school punk rock and dirty glam. Throwing some David Johansen harmonica into the mix on ‘Be My Babylon’ is excellent. Christopher Pravdica who blows the gob iron also hits the bass with aplomb and elevates this album from the pack with a great balance. ‘Juxtaparanoisolation’ is a brooding heaving beast of a track that offers something different.

To sign off this album it’s a classic eight-track just like the good old days, ‘Dr Dealer’ delivers the magic potion that is needed every now and again and an album that opens with a corker of a song seems fitting that it should end with a punch to the throat (musically of course) that just about caps off a really impressive debut album.  Check it out or miss out.

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Buy Here

Author: Dom Daley

Dead Furies ‘Midnight Ramble’ (Dragstrip Riot Records)

Dead Furies ‘Midnight Ramble’ (Dragstrip Riot Records)

Dead Furies came to my attention a few years ago when they released their second album ‘Rock City a Go Go’ which utilized a font reminiscent of the Hellacopters.  With their 4th album, the band continue to expand their sound while maintaining the heart of the band. This finds them continuing to turn the corner into a classic rock band with the tempos a little slower. That may turn a few people away, but the band has continued to develop as songwriters, and the diversity makes it a rewarding listen without the band going through the motions of repeating themselves. The album title even gives a nice nod of the hat to the Rolling Stones. With all that in mind, let’s get into what makes ‘Midnight Ramble’ the next excellent release for the Dead Furies.

Kicking off with ‘Let’s Get Loaded’ really works for the album as the guitar and tempo feel a bit restrained and set up an engaging and catchy chorus. Ardo Fury (vocals/ guitars) has a really distinct voice that makes the band immediately identifiable for me. Increasing the tempo with ‘Follow You,’ the band channels some great 70’s style hard rock with a straight forward chorus that gives way back to the catchy riff that starts the song. The vocals in the verses are sang over just the bass (Robert Fury) and drums (Erik Fury). ‘Mesozoic Rock’ continues the classic rock attack with a chorus that kind of goes back to the stone age in its simplicity. I personally love how the tempo increases after the second chorus and allows Robert’s bass to get some time to shine during the break.

Approaching the middle of the album, the band is firing on all cylinders with ‘Gold Digger.’ The musical intro gives plenty of space in the mix which sets up the first verse where Ardo takes control. Musically, this is one where I can feel the band channeling great bits from the likes of Jetboy and L.A. Guns. Closing out the first half of the album is the hard rocking ‘9 to 5’ where I am reminded of the likes of late 80’s L.A. band the Little Kings crossed with a bit of punk n roll.

Flipping the figurative vinyl over to side b, we are presented with the uniquely titled ‘Candlewax on a 7.’’ The band slow it back down with the focus on a groove that works extremely well. The breakdown in the song works its way into the guitar solo. At over four and a half minutes, the band doesn’t rush anything here and is more powerful because of it. ‘She Said, She Said’ comes to life sounding like Johnny Thunders crossed with a bit of the U.K. Subs. The worst thing about this song is that it is only about two minutes long. In these early listens, this one might be my favorite across the album. It gives way to the acoustic ‘Lady Jane’ that again reminds me of Thunders with touches of the Velvet Underground. It serves as a reminder that the Furies are really settled into the classic rock stylings of the 70’s here with this song sounding different from anything they have done.

Getting into the end of the album, ‘Please Tell Me Now’ gets us back into full rock mode with the electric guitars coming to life. This one reminds me more of their past albums with a slightly cleaner production.       ‘Red Wine & Alone Time’ serves as a the perfect six minute finale as it truly takes us on a journey from its slower beat at the start to the noisy end. It serves as another great example of a band that continues to naturally evolve their sound. The groove here ends the album on an absolute high.

The Dead Furies are now four albums into a career where they have continued an ongoing evolution and given us fans something new to enjoy with every album. Ardo and I chatted about some of the influences for this album after I wrote this review, and I have to say they are not obvious as those influences sometimes come across through subtle nuances. Right now, I am enjoying this album on a whole more than ‘Stay Gold’ even if there isn’t a song here that connects with me quite as much as ‘Cowboys and Indians’ from that album.

‘Midnight Ramble’ is available now.

 

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Author: Gerald Stansbury

 

 

The Black Crowes – ‘Shake Your Money Maker – 30th Anniversary Super Deluxe’ (UMC)

The Black Crowes – ‘Shake Your Money Maker – 30th Anniversary Super Deluxe’ (UMC)

Right. let’s deal with the rather obvious elephant in the room first and foremost shall we? Because if this really were a 30th Anniversary celebration of The Black Crowes awesome ‘Shake Your Money Maker’ debut album, this release should have happened in February 2020, not 2021. However, given what has been going on globally these past 12 months I’m more than prepared to let that not so insignificant detail slide, for now.

 

However, what I’m not about to let slide is the fact that almost a month before the February 26th 2021 street date of this release, I suddenly get an email from Universal telling me that my pre-order of the Super Deluxe 4xLP box set has somehow been pushed back to 19th March 2021 with no further explanation offered. That I’m sure you will agree is not exactly an ideal situation, not for the band or most importantly their fans, who will have already shelled out over £75 for one of these sets. Then there’s also the mix-up on a certain well-known online retailing platform regarding the CD Deluxe Edition and the CD Softpack Edition (both of which did actually make the February 26th release date) that has also left some other fans less than happy.

 

Oops!

 

So, with all this in mind, what I’m actually reviewing here is a stream of the audio from the Super Deluxe set, for the packaging and all the extras that come with it you’ll just have to cast an eye over the attached promotional photograph and hope that the finished sets do actually still contain the same goodies (they are set to include a reproduction of an early Mr. Crowe’s Garden show flyer, setlist and tour laminate, a 4″ Crowes patch plus a 20-page book with liner notes by David Fricke) by the time Universal get around to shipping them to us.

But what about the music I hear you cry? Well, of course kicking this set off in true style we have the five times platinum debut studio record from the Georgia based rockers. Originally released in February 1990 and here remastered by George Drakoulias. To be honest though to my ears I couldn’t really detect anything significantly new or different listening once again to the 11 tracks that make up the album, but then as I’ve always loved the way the original record sounded, if there are actually any tweaks or corrections made then it’s certainly nothing on the scale of those say done by Giles Martin for the Super Deluxe Beatles reissues. What should never be in question here though, is just how truly special a debut album The Black Crowes produced for their then new label Def American. You really would have to be dead from the neck up not to be in some way moved by the likes of ‘Sister Luck’, ‘She Talks To Angels’ and ‘Seeing Things’ and dead from the waist down if you don’t immediately feel the need to shake a tail feather of two when the likes of ‘Twice As Hard’, ‘Stare It Cold’ or ‘Think n’ Thin’ come powering out of your speakers. This really is the type of music that feather haircuts, flowery shirts and Chelsea boots were all invented for, as the band themselves just oozed cool from the cover through to the aforementioned songs themselves.

 

Next up, and probably the real reason any Black Crowes fan will be chomping at the bit to get their hands on this set (whichever of the six different versions you do eventually decide to buy) we have the first of the additional material included via a set of tunes brought together under the collective banner of ‘More Money Maker: Unreleased Songs and B-Sides’. Featuring ten tracks in total, and boasting three never-before-heard studio recordings plus two unreleased demos from the band’s early incarnation as Mr. Crowe’s Garden this proves to be an interesting delve into the ‘Shake Your Money Maker’ archive with my own person highlights being ‘Charming Mess’ (which sounds like a possible Rod Stewart lawsuit just waiting to happen) along with a faithful (and most excellent) rendition of Humble Pie’s ‘Thirty Days In the Hole’. However, if I’m truly honest here, it’s the previously unreleased concert recorded in their hometown of Atlanta, in December 1990 that makes up the final disc/s of this set that really is the golden ticket hidden within the 2 hours and 45 minutes of music contained within this set.

 

For anyone who was lucky enough to witness those early nineties Crowes live shows (I still have the physical and mental scars from their frenetic London Astoria support slot with The Dogs D’Amour) this live set is truly what the band were all about back then. This is REAL rock ‘n’ roll baby, complete with mandatory low-slung guitars and cigarettes in the corner of the mouth, and by God do they sound magnificent across the thirteen songs contained here.

 

From the breakneck opener of ‘Thick n Thin’ through to the swaggering gig closer ‘Jealous Again’ this really is essential stuff and the jam band the Crowes would soon become is thankfully at this point nothing but a hazy half idea hidden away somewhere within the Robinson’s brains. It’s something that is kind of alluded to during ‘Words You Throw Away’ which crops up towards the end of this set as it does clock in at thirteen minutes plus. However, there is real fun to be had here, simply by playing “Spot The Future Crowes Song” as this epic must contain at least three other song ideas that would eventually make it onto a future Crowes’ releases. Good luck figuring them out!

 

The Black Crowes live in 1990 simply took no prisoners and were clearly heading for fame and fortune as the riotous crowd response during a glorious ‘Hard To Handle’ proves and whilst this debut is a stunner, there was (I’m sure you’ll agree) an even better record (or two) to come from the band in the years that immediately followed.

 

This Super Deluxe Edition then is a wonderful musical snapshot of early Black Crowes, and pre-egos its great to be able to once again listen to Chris, Rich, Johnny, Steve and Jeff fully locked in and working together as a solid cohesive unit. Ideally, I would have liked to have also seen something like the June 1990 Pinkpop Festival live video included here as a DVD (I’m sure the Robinson’s have many live videos in their archive) along with the promo videos and some TV interviews/live sessions (like the two song MTV Unplugged mini-set) to truly bring to life some of the visual elements of the band I mention above, plus you then truly get to see then the buzz that passed between the band and their audience. As it is though ‘Shake Your Money Maker’ totally gets a whole new lease of life with this box set, and I look forward to finally receiving it, hopefully very soon.

 

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Author: Johnny Hayward