Former Dokken members George Lynch and Jeff Pilson have reunited again for the follow-up to The End Machine’s well-received self-titled 2019 debut album. The band was originally born from a vision of the Frontiers Music president Serafino Perugino. He wanted the classic Dokken lineup to reform but with a great vocalist, (sorry Don). There’s no “Wild” Mick Brown this time around though, his younger brother Steve has taken over drumming duties, and vocalist Robert Mason (ex- Lynch Mob, currently in Warrant) returns to complete the line-up.
Pilson again produced the album, I’m a fan of his production style, his work with Last in Line (ex – Dio members) is superb and he has delivered the goods here with The End Machine. The classic Dokken sound is here in spades and Lynch is on fire as usual with plenty of shredding to keep his fans dribbling. It’s good to see that they are giving the fans of the old stuff what they want.
As Pilson says: “On this record, we set out to make the very best songs possible and are more than excited with how it turned out. We also weren’t afraid to let elements of the DOKKEN sound come through loud and clear. As a result, not only was it a very organic and collaborative process, but it was a helluva lot of fun as well!!! I feel these are some of the best songs we’ve ever written, and I’m blown away by all the performances. George was on fire throughout, Robert makes it clear he’s one of the very best rock vocalists around, and Steve delivered with all the passion and enthusiasm any band could ever desire. All in all, it is a musical statement we can and will stand behind for a very long time!!!”
The album opens with short introduction The Rising which ends in a crescendo of screaming guitars before the first single from the album ‘Blood and Money’ kicks in with a brutal drum intro from Brown. It’s a great track with a shout along chorus and plenty of energy. ‘We Walk Alone’ is a more bluesy affair that chugs along nicely with a superb solo from Lynch. Dark Divide is a mid-tempo rocker that highlights the vocal abilities of Mason, he has a great range and really is an asset to the band. There are some fine harmonies being thrown around and it’s obvious that the entire band are great singers.
‘Crack the Sky’ starts with of those George Lynch riffs, yeah you know the ones, think of ‘Kiss of Death’ from ‘Back from the Attack’ or ‘Tooth and Nail’ and you’ll be somewhere near. Another catchy chorus and more guitar gymnastics make this a standout track. ‘Prison or Paradise’ has another hooky chorus, the band has obviously concentrated on writing good songs and not just mindless widdling. ‘Plastic Heroes’ has a fantastic head-banging riff with drummer Brown showing how tasteful his playing is. His solid grooves keep the band in check. ‘Scars’ is next up; the song has a huge chorus and sounds like a ballad from an episode of Headbangers Ball from 1989. Great stuff.
Shine Your Light turns the riffage back up with more great work from Lynch. ‘Devil’s Playground’ starts off with some Hendrix style clean guitar before we are back on familiar ground with another mid paced banger. ‘Born of Fire’ is another track with a bluesy vibe that Mason’s vocal style suits brilliantly. Final track ‘Destiny’ finishes the album off with style, a chunky riff sets the pace for a full-on fist pumping anthem that would go down a storm live.
There’s obvious chemistry between the band members and the songs on ‘Phase 2′ are very strong. Overall, a great hard rock/metal album that I will certainly be returning to. The End Machine are the real deal and not just a rehashed version of Dokken, in fact Dokken fans have much to celebrate with this band. They are most certainly Back for the Attack!!
So Lockdown, did we mention we’re still under lockdown? No live shows No clubs or venues heaving with happy smiling people falling out into the late evening streets. Well before the apocalypse, there were bands who toured the globe in search of those happy smiling faces and entertaining them with their tunes of merriment and creating memories that would last a lifetime some of those bands were exceptionally good at entertaining and one of them has decided to release one such evening in Sweden for our listening pleasure. Not wanting to be down about it that band – Duncan Reid & The Big Heads were to be fair or should that read are exceptionally good at, to be fair I’ve also said that as much as I love the music on record or CD live is where they really do shine and the sound (complete and dare I say enhanced) with its rough edges is much better for the energy and living in the moment than they can capture on record.
For those of you who don’t know, Duncan used to be one of The Boys so knows a thing or two about writing top tunes and about what it takes to be a great Rock and Roll band and to his credit, he’s surrounded himself with some excellent musicians (in their own right) and musicians who trade off each other to create what is one of the finest bands you could wish to see in any venue be it the cavernous surroundings of the theatre at Rebellion or a small upstairs room of a Bristol Bar they will come and rock the socks off you and you will bloody well enjoy every minute of it. This leads me in a roundabout sort of way to why these words are here.
‘Live at Akkurat’ might not be the Hollywood bowl nor is it Maddison Square Gardens but I bet the audience that evening of this recording didn’t care a jot because they were too busy having the time of their lives with Duncan and his Big Heads.
The album kicks off with the sprightly ‘Can’t Stop’ and motors straight into the boptastic ‘Montevideo’ the band means business and the recording has (thankfully) captured what the band exudes in the live surroundings and that’s the best of times and of course some top tunes. Going from the opening track off ‘Bombs Away’ straight into the first album deep cut of ‘Montevideo’ is a fantastic one-two. Heading for the hattrick there a raw ‘Cèst La Vie’ that motors along.
Duncan’s interval banter isn’t lost on the Swedes as he introduces ‘Baby Doll’ and again the mix of synth and raw guitars works well. You do get to hear how tight the band is which might be lost when you’re watching them live such is the amount of energy they put into every performance and the blend of keys and guitars works a treat on ‘Just Because You’re Paranoid’. ‘Rolling On’ sounds great and the vocals are excellent as it heads into ‘Bombs Away’ that certainly benefits from the rough edges of a live performance.
Through all twelve songs on offer here you do get the sense of how bloody good this band is and what a good songwriter Duncan is. Over the post Boys output how he’s managed to pen some right belters, ‘C’mon Josephine’ into ‘Wasting Time’ and then into ‘That’s The Way It Is’ followed by the epic ’77’ they’re very different songs but blend together so well and show off those talents.
Before the end, we get to hear the band take on and pay respect to his previous day job and Honest John Plain in particular with a great rendition of ‘First Time’ which only leaves a trashy romp through ‘One Time In Rio’ before bowing out.
Whilst it’s fantastic to hear this recording and I’m sure everyone who downloads this album will agree its a double-edged treat, on the one hand, it’s a fitting tribute to a great live band, the flip side is I feel sad that it’s been over twelve months since I’ve been to a sweaty venue and clapped eyes on a live rock and roll band like Duncan Reid & The Big Heads. Hopefully, this can signal the beginning of the end of a real Annus horribilis for us live music fans and with this recording, at least we can celebrate what live music should be all about. Entertaining, Great songs, great performers great live set. Just Buy it! that’s my advice because it’s like a ray of sunshine and a reminder of what’s coming soon enough when we can all experience this again. Good on you Duncan and those Big Heads you rock! All for a fiver? Bargain of the year!
I have been spinning this album off and on for a little while now. When I first went to write my review, I wasn’t feeling it as much and then we had the great freeze in Texas where we lost our power and just tried to stay warm. The album clicked soon after that, and, while I don’t quite see it being in my top 10 at the end of the year, I am really enjoying the album more with every listen.
The Flaming Sideburns first came onto my radar when they did their split album with the Hellacopters many many years ago which I loved, with the band itself tracing its roots back over 25 years now. After many years, they have returned with this new album that finds the band staying true to their roots.
‘Silver Flame’ has proven to really be a grower as an opener. For whatever reason, it took me more time to really connect with this slice of action rock. The chorus contains a solid hook, and that guitar refrain does get lodged in the head. Follow up ‘Perfect Storm’ feels slightly more subdued until the chorus grabs you by the neck and pours itself into your head. Musically, this one swims in the same musical pool as the Hellacopters around the ‘High Visibility’ and ‘By the Grace of God’ period. The slow opener of ‘A Song for Robert’ hits the heart hard with the band turning the energy up as a celebration of life before settling back into a somber ending that just really works well for all the song is capturing.
Up next, ‘Cast Out My Demons’ has a beat that I really enjoy, but the song overall is not one of my favorites from the album. With the way the album has grown on me, I might be feeling different in the future. ‘Reverberation (Doubt)’ oozes out of the speakers with a slow groove that remains one of my favorites from my first listen. The vocal hook is simple but works incredibly well. Musically, it lives up to its title as it will take your mind and soul on a journey if you close your eyes and give into the music. Closing out the first half of the album, the guys channel some straight forward classic rock with ‘Lighthouse Keeper.’ The chorus is a grower while the musical hook will sink its teeth into the listener first, with the break in the song serving to make the end of the first half of the album rather special.
Kicking off the second half of the album, ‘Soulshaking’ explodes out of the speakers with a shot od adrenaline. The chorus induces everyone listening to sing, and I have found myself on occasion wondering if this album would have grabbed me right away if this were swapped with the album opener. The action rock continues with ‘Searching Like a Hyena’ keeping the musical urgency at a high level, even if I have found myself pondering how a hyena actually does search for things. It would be a cool world though to hear teenage boys dedicating this to girls on radio stations around the world. ‘Freak Out’ does not stay around long with its awesome groove making it another one of my favorites.
‘Neverending’ slows the pace a bit and feels like a slower brilliant nugget from the 60’s that ramps up more intensity as it progresses. It provides some great musical depth to the album as well. ‘Nibiru’ arises with a killer guitar riff and some backing vocals that perfectly set the tone. This is another of my favorites from the album, and I love how it leads into closer ‘Trance-Noche.’ If your body is not moving during the last two, I really don’t know what to tell you. My Spanish is rusty, but it doesn’t stop me from badly singing along while breaking out my air guitar.
As I said at the beginning, this one has been a grower of an album for me. Each listen brings out more and more from the album which is awesome for the listener. To borrow from the closing song- listen, listen now, give this album a few spins to worm its way into your musical world. You will be glad you did.
It’s Time to Testify (1999, Bad Afro Records, compilation)
Hallelujah Rock’n’Rollah (2001, Bad Afro Records)
Save Rock’n’Roll (2002, Ranch Records/Jetset, US version of Hallelujah Rock’n’Rollah)
Sky Pilots (2003, Ranch/Jetset; 2004 Bitzcore)
Keys to the Highway (2007, Ranch/Bitzcore)
Silver Flames (2021, Svart Records)
Seeing as this week sees the release of some fantastic albums from some fantastic bands here’s sunshine on a rainy day courtesy of The Flaming Sideburns, who have their long-awaited new album ‘Silver Flames’ released on Svart and reviewed today on RPM Online. We dig into the archive for ‘Sister Anne’ live featuring Robert Dahlqvist.
With a live album released this week let’s celebrate the work of Duncan Reid & The Big Heads with the video ‘To Live Or Live Not’ which isn’t on the album funnily enough.
Wrapping up this week’s new albums that are contenders for album of the year is The Boatsmen with their album ‘Verses The Boatsmen’ also released this week and reviewed on RPM over the next few days. Absolute killer record and ‘Blame Me’ isn’t even the best track on the record that’s how good this album is.
He cried More More More. Once again this month we just had to open the singles club due to some of our favourite bands knocking out a 7″.
We begin with a single reviewed by Kenny Kendrick…
Madysin Hatter – Wild & Strange (Self Release)
The latest single from New Jersey rocker Madysin Hatter is called Wild & Strange. It’s a heady mix of 80s sleaze, rap & pop. Madysin has a unique voice and the song really showcases her talent. She has assembled an all star cast on the song, Tyler Bryant (frontman of Tyler Bryant & The Shakedown), Frank Ferrer (of Guns N’ Roses), Rob Bailey (David Johansen), and Brett Bass (Gregg Allman). The song was co-written by Madysin Hatter and Rob Bailey, who also produced. Wild & Strange is a strong track and the accompanying video is a lot of fun with Madysin showing off her kickboxing skills!
Madysin has built up a strong reputation in the US and has played live with such luminaries as Winger, Faster Pussycat, Tom Keifer and Lita Ford to name a few. After checking out some live performances online, it’s obvious that Madysin is a formidable force live. After playing Wild & Strange a few times, it’s been stuck in my head all day! I’ll look forward to hearing more from Madysin Hatter, and hopefully, she can grace some stages in the UK when the madness of the pandemic is over.
Madysin Hatter is definitely an artist to keep an eye on!
“Wild & Strange” is available on all digital & streaming platforms. Here www.MadysinHatter.com / Facebook
Los Pepes – ‘Want You Back’ (Self Release) Coming out on various coloured variants it’s Londons very own music machine Los Pepe. Man, I love this band never less than 100% they manage to capture their Rock and Roll like a rocket in a bottle they have awesome melodies and a sharp sense of arrangement and usually at Ramones levels of speed and drive.
‘Want You Back’ has added harmonica as it motors along with crisp riff-a-rama and a great big hook its terrific. ‘Never Get It Right’ turns it up a notch or two as Ban and the boys just nail it. It’s like they’ve shaved off a little of the early Damned attitude. Adding a third track just for luck is the massive sing a long of ‘Tell Me’. Another thoroughly enjoyable trio from Los Pepes and it only helps whet my appetite for another album so come on guys get it on. Pick it up Here
Prima Donna – ‘Atomic Love’ (Wicked Cool Records) Christmas single aside it seems like an age since we had a record from the awesome Prima Donna. The wait is over as ‘Atomic Love’ comes exploding out of the distance and the radio-friendly handclapping singalong comes bursting out of the speakers. Sure it’s cool, Sure it’s stylish, sure it’s great. From those handclaps to the slide solo its an awesome 7″ and if there was a top of the pops this was made to be on the show. Preston knows that a perfect single is 3:10 seconds which is why ‘Atomic Love’ is exactly that and you’ll be singing along before the final chorus. The flip side is a bright and breezy cover of Gene Pitney’s ‘He’s A Rebel’ Perfect. Buy Here
BBQT/ Appaloosa – ‘Jump Outs / Nod Out’ – ‘Seasons Of Change’(No Front Teeth Records) Glam Stomping Punk Rockin Rock and Roll from Austins BBQT. Its trash tastic as ‘Jump Outs’ is like the perfect tribute to the Dolls and everything that followed. A new band on me is Appaloosa who also ploughs a glam trashy punk rock furrow and I like it a lot. Perhaps it’s a close runner up to BBQT but it’s the width of an eyeliner stroke in it. 100% of proceeds earned from both bands on Bandcamp from this release will go directly to the Sex Workers Outreach Project (www.swopbehindbars.org). Another great single pick it up here
Black River Delta – ‘Californian Sun’ (Sofaburn Records) Black River Delta is blues-rock band originating from Bollnäs, Sweden. The foursome have released two studio albums – Devil on the Loose (2016) and Vol. II (2018), and are poised to drop their latest heavy-hitting full-length effort Shakin’ this spring. I’m hearing the likes of Black Rebel Motorcycle Club and even some INXS, especially in the voice. A fairly refreshing take on modern blues and rock. Check em out on their Bandcamp Page
Beastwood – The Long Road To Ho (Coffin & Bolt Records) Possibly the most disturbing sleeve I’ve seen in a long time but then I clicked play and after the big rolling guitar lick and solid rhythm the gravel and whisky vocals kicked in and off we went on some dirty greasy hard rockin tip and I fuckin liked it. ‘Electric Gangbang’ is a dirty rockin noise that certainly had my attention. Can anyone come? I’ll bring a bottle.
I’m not going to Salt Lake City by the Dwarves springs to mind every time I hear the place and that’s where Rock and Roll gave birth to these degenerates. Not all bad then. All four tracks are loud and proud I’d imagine its SG’s and Rickenbackers all the way with these guys and the engineer left the session with a banging headache because these have to have been recorded loudly. Quality check it out Here
The Flaming Sideburns – ‘A Song For Robert’ (Svart Records) A fitting tribute to Strings from The Flaming Sideburns. Lifted from their brand new album released later this week its a really fitting tribute and a great tune long overdue from The Flaming Sideburns its been a while but it’s great to have them back. (Album review coming this week) get on it Here
Teenage Fanclub – ‘In Our Dreams’ (PeMe And Murge) From the forthcoming album ‘Endless Arcade’ with its 60s dreamy verse and fuzzy guitar break it’s always a good day for the Fannies to be making records. The video was filmed in Motherwell – not something you hear every day when discussing pop videos. Pre Order it Here
Poison Heart – Sailors Stories’ (Heavy Medication Records) Poison Heart delivers two new songs, their first new material since 2018’s “Heart of Black City” album. Only 150 copies pressed so will sell out its a classic slice of garage Rock and Roll with some hard rockin guitar stylings. With a new six stringer on board the two new tracks rock like fuck as these Warsaw boys show that Poland can rock out with the best of them. ‘Good Times’ could just about be the size of it as Poison Heart have the chops to step up to the plate and take on Europes finest and head further afield on this evidence. Really strong single offering can’t wait to hear more.
Hot Laundry – ‘Shake Slide Twist’ (Die Laughing Records) Rock and Roll with attitude and a tonne of energy. The 12 bar of ‘Shake’ is infectious as San Francisco based Garage Rockers HOT LAUNDRY released their new EP ‘Shake Slide Twist’ I didn’t see that solo coming but I love it. To be fair all four tracks are bangers whilst ‘What Would I Do’ is more measured and more akin to The grooves The Bellrays get into. There is variety throughout the four tracks on offer with ‘Glitter And Gold’ which has a real swagger about it. Quality EP check it out
Danko Jones – ‘Flaunt It’ (SPV Records) Motormouth Danko Jones always seems to have a plan and on his social media he’s generally spot on as he is with his band and their Rock and Roll. ‘Flaunt It’ is a top tune lifted from their new album due late summer ‘Power Trio’. If this is a taste of what we can expect then bring it on what a rocket ride rip-snorting track it is. turn it up and Rock!
Millie Manders and The Shutup – ‘Broken Record’ (, taken from their debut album ‘Telling Truths, Breaking Ties’ released in August of last year. Its a break-up tune with attitude Millie has a thoroughly engaging powerful voice and who doesn’t love some saxophone with their rock and roll? It’s released to coincide with the bands run of shows starting this summer that was originally pencilled in for last year. Facebook
It was typical Saturday morning in the late 90s when I rode my bike to a friend’s house to hang out and do much of nothing for the day. His family had just accommodated some Swedish exchange students who had kindly given him a couple of CDs – Sator’s ‘Headquake’ and Atomic Swing’s ‘Car Crash into the Blue’. From that day we listened to them both religiously, and over time I delved fully into the Sator discography. It wasn’t until 2014 that I finally got the chance to see them, when they finally headed to The Pipeline in London for a blistering show with The Nomads.
The band have recently announced some re-releases on CD and vinyl, including the re-mastered ‘Basement Noise’ (originally recorded in 2006), which will be released in early June 2021. Sator have always blended hard rock and all-out punk together with ease, and ‘Basement Noise’ is no different. What makes Sator so good, though, is simply the relationship between brilliant songwriting and sharp production. Chips Kiesbye has a way of bringing out the best in any record – only a couple of years ago I bought The Dahlmanns ‘American Heartbeat’ and wondered at the production of it (Kiesbye is also a songwriter on it). He’s also worked closely with bands such as the Hellacopters and Sahara Hotnights.
‘Basement Noise’, with its black leather front cover, is a brawling album full of Sator’s typical hard sound and pop rock melodies, stuffed with harmonies and singalong choruses. From the rolling opener of ‘So Dressed Up’ the album doesn’t let up for a minute – the garage rock of ‘Angelina and Sister Ray’ or the punk rock party of ‘Escape from Pigvalley Beach’, there’s not a single dud on this record. Like many of Sator’s albums, ‘Basement Noise’ is a delightful bundle of the band’s various influences all tied up in a collection of tight tunes. And talking about influences – this album has one of Sator’s greatest and saddest songs, ‘Goodbye Joey’, in honour of the late Ramones singer, who passed away 20 years ago this month. Listening to this album again now, ‘This Ain’t the Way Home’ brings back memories of first hearing ‘I Wanna Go Home’ from the ‘Headquake’ album – both such wonderful songs. Whether it’s the almost Kiss-esque riot of ‘Water on a Drowning Man’, the stomping ‘At the End of Time’, or the searing ‘You Walk Alone’, this album simply kicks from first to last.
AUTOGRAMM TAKE YOU A ON TRANSCENDENTAL SKATEBOARDING VOYAGE IN THEIR VIDEO FOR “MANTRA”
CREATED BY AWARD-WINNING DIRECTOR SHAYNE EHMAN
Autogramm, the synth-driven, power-pop trio from Chicago and Vancouver premiered a video for their latest single, “Mantra” today via Indie 88, created by award-winning director Shayne Ehman (METZ/Asphalt Watches). The track is featured on the band’s sophomore album, ‘No Rules’ Order Here
Discussing “Mantra,” guitarist/vocalist Jiffy Marx noted, “On our first tour to Mexico we flew in on a red eye flight then partied all night every night for a week. It was super fun but my internal clock never really adjusted – I’d be up until 3 or 4am every night and then waking at 7am, which is when I usually get up at home. The lyrics for ‘Mantra’ are literally a mantra I made up to help clear my mind on those mornings when every part of me except my stupid brain knew that I needed more than 3 or 4 hours sleep!”
Director Ehman added, “The members of Autogramm and I all have a relationship to skateboarding. The lyrics of “Mantra” describe a certain relationship to satori, meditation, focus/flow, repetition, mind/no mind, of being in the zone. Things which are felt when skateboarding is good yet are difficult if not impossible to describe using words. The song is a ‘mantra’. A way of training to be prepared for flow when you need to flow”.
Marx, bassist CC Voltage, and Chicago-based drummer The Silo, draw on influences from The Cars, The Go Go’s, Gary Numan, 20/20 and Devo. Along with calling Canada, the U.S., UK and Germany home at various points, the band also has a long-standing connection to the art, punk, and skateboarding communities world-wide.
No Rules keeps with the band’s tradition of crafting singalong pop-anthems, while adding angular elements that are reminiscent of Ghost in the Machine-era Police. For the band, the album title refers less to a no-gods-no-masters set of rules as it does to a no boundaries aspiration. Instead of building walls, they want to build bridges.
Fast rising London punk 5-piece Chubby and the Gang have shared a new song and accompanying music video. ‘Lightning Don’t Strike Twice‘ was premiered yesterday evening by Steve Lamacq on BBC 6Music, and is part of a double A-side 7″ out on May 28th via Partisan that will feature another new track entitled ‘Life’s Lemons‘. ‘Lightning Don’t Strike Twice’ is a three-minute ride through the band’s entire moodboard – opening with lap slide noodling before steering into anthemic pub rock with snarling lyrics. The video was directed by Jasper Cable-Alexander, and takes inspiration from ’90s internet cafés.
Speaking of the track, frontman Charlie ‘Chubby’ Manning offers: “I wrote this song about social inequality. Not mine but the people I saw around me. I feel like the whole premise of poverty is presented like this game in which if you play your cards right you can escape. In reality it’s more like playing a game of dice when they’re loaded against your favour. Constantly being struck by lightning and being told that it will never happen again. I remember witnessing someone’s telephone voice where they had to change their voice when conducting business or applying for jobs so they don’t come across as if they are from a lower class.
“I wrote the last verse about that because it disgusted me that in a system supposedly created on meritocracy a human being has to change their identity to try and shake unemployment. I’ve had very few jobs that required me to go for an interview. No one really cares who you are when you drive a minicab or lay out cables so I’m lucky in that sense. But many people aren’t.”
Both ‘Lightning Don’t Strike Twice’ and ‘Life’s Lemons’ will appear on the band’s highly anticipated second LP due out later this year. More music + info on that coming soon!
Chubby and the Gang recently performed virtually for SXSW, watch them play ‘All Along the Uxbridge Road‘, from their acclaimed 2020 debut Speed KillsHERE.
The band have also announced a bumper 40-date tour of the UK and Ireland through November and December of this year offering a chance for many to finally see just why they’ve become one of the most exciting and talked-about punk bands in the world over the past year. All dates go on sale at 10am today – Friday, March 16th.
Fronted by Manning (a former cabbie who now also works as an electrician), Chubby and the Gang have been leading a pack of bands coming out of a new wave of British Hardcore. Speed Kills was one of the critical surprises of the year thanks to its unrelentingly fun concoction of hardcore, pub rock, doo wop, and blues. The album was produced by Jonah Falco of Fucked Up, and boasts songs of deep substance and political conscience with a precise sense of time and place. It received an 8.0 Pitchfork review, Stereogum praised its “massive barroom gang choruses, power chords at breakneck tempos, rock spelled R-A-W-K and visceral gratification,” while The Guardian declared them “UK punk’s most vital new band” and NME called them “the scene’s clear front-runners” and Speed Kills “a thrilling white-knuckle ride through multiple flavours of hardcore punk”.
UK/IE Tour Dates:
Nov 4th | Woking – Fiery Bird
Nov 5th | Bournemouth – Anvil
Nov 6th | Coventry – Central Library
Nov 7th | St. Albans – The Horn
Nov 8th | Hull – The Polar Bear
Nov 10th | Hebden Bridge – Trades Club
Nov 11th | Stoke – The Sugarmill
Nov 12th | Blackpool – Bootleg Social
Nov 13th | Edinburgh – Mash House
Nov 14th | Aberdeen – Café Drummond
Nov 16th | Sunderland – Independent
Nov 17th | Huddersfield – Parish
Nov 18th | Liverpool – Jimmy’s
Nov 19th | Sheffield – Delicious Clam
Nov 20th | Sheffield – Delicious Clam
Nov 21st | Milton Keynes – Crauford Arms
Nov 23rd | Exeter – Cavern Club
Nov 24th | Southampton – Joiners
Nov 25th | Oxford – The Bullingdon
Nov 26th | Bedford – Esquires
Nov 27th | Cambridge – Portland Arms
Nov 28th | Southend – Chinnery’s
Nov 30th | Tunbridge Wells – Forum
Dec 1st | Margate – Elsewhere
Dec 2nd | Dover – Booking Hall
Dec 3rd | Portsmouth – Guildhall Studio
Dec 4th | Brighton – Green Door Store
Dec 5th | Norwich – Waterfront Studio
Dec 6th | Nottingham – Bodega
Dec 8th | Birmingham – Castle & Falcon
Dec 9th | Leeds – Belgrave Music Hall
Dec 10th | Newcastle – Think Tank
Dec 11th | Glasgow – King Tuts
Dec 12th | Cardiff – Clwb Ifor Bach
Dec 14th | Manchester – YES
Dec 15th | London – Scala
Dec 17th | Bristol – Exchange
Dec 18th | Dublin – The Workman’s Club
Dec 19th | Belfast – Voodoo
“Lightning Don’t Strike Twice” from Chubby & the Gang. 7″ available to pre-order now: Here
Black Sabbath was embroiled in a protracted legal battle with its former manager in 1975 when the band started recording its sixth studio album, Sabotage. The group felt sabotaged at every turn – hence the album’s title – but that feeling helped fuel the intensity of the new music they were making. In spite of the distractions, the band created one of the most dynamic – and underappreciated – albums of its legendary career.
BMG pays tribute to the patron saints of heavy metal with a collection that includes a newly remastered version of the original album along with a complete live show recorded during the band’s 1975 tour. SABOTAGE: SUPER DELUXE EDITION will be available on June 11 as a 4-CD set and a 4-LP set that includes the same music on 180-gram vinyl plus a bonus 7-inch with the single edit for “Am I Going Insane (Radio)” and “Hole In The Sky” on the flipside, with artwork replicating the very rare Japanese release of the single. Both the 4-CD and 4-LP versions are available for pre-order now: Pre Orders
The newly remastered version of the original album will be available via digital download and streaming services on the same day. Click Here to listen to the newly remastered version of Am I Going Insane (Radio), available today digitally.
Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward recorded Sabotage in London and Brussels and co-produced the album with Mike Butcher. The eight songs were released first in the U.S. in July 1975, and then in the U.K. that September. Certified gold in America and Silver in the UK, Sabotage earned positive reviews for hard-hitting tracks like “Hole In The Sky” and “Symptom Of The Universe,” as well as more experimental music like “Supertzar,” which featured harp, Mellotron, and the English Chamber Choir.
SABOTAGE: SUPER DELUXE EDITION introduces 16 live tracks (13 of which are previously unreleased) that were recorded in 1975 during the quartet’s U.S. tour for the album. The performances include songs that span the group’s career, from the title track to its 1970 debut Black Sabbath to “Spiral Architect” and “Sabbra Cadabra” from its previous album, Sabbath Bloody Sabbath (1973). Sabotage is represented as well with live takes of “Hole In The Sky” and “Megalomania.”
The music is accompanied by in-depth liner notes that tell the story of the album through quotes from band members and the music media along with rare photos and press clippings from the era. Also included in the package is a 1975 Madison Square Garden replica concert book and Sabotage 1975 Tour colour poster.
The Reducers spent more than three decades resisting the fickle turns of popular taste, the musical fashion, and the temptations of the music-industry buzz that briefly threatened to turn them into the Next Big Thing. Instead, the band spontaneously moved forward on its own uncompromising terms, continuing to make brilliant, personally charged rock ‘n’ roll.
With a whole wealth of influences jumping out of the speakers at you apart from the obvious giveaways of Covering a Dangerfield/ Steele song and did it ever hurt anyone to have a go at a Stones track it certainly paints decent comparisons and when they’re done well its a bonus. I hear some alternative leanings from the likes of The Replacements going on here along with more subtle influences like SLF. Right from the off the energy the band muster is excellent and when they get going it’s a thing of beauty.
Soundboard recordings can sound distant and a bit lifeless but that’s definitely not the case here because The Reducers manage to keep the sound ragged but rich and engaging. Their take on the Stones is loose baby and just like you want to hear a band taking on ‘Get Off My Cloud’ once they’ve had a few looseners. These guys get a great groove on and really lock in on track like ‘San Antone’ and ‘I Call That Living’.
The songs are short and pretty sweet and the choice of covers is good they had a rich sound and as far as live albums go this is a really enjoyable listen. They mix up the Rock with the alternative sound really well and finishing on an excellent take on Chris Speddings ‘Hurt By Love’ is a great way to sign off with some thunderous bass thumping and change in tempo as the band gets loose before sailing off into the sunset. Adios amigos it might be a late entry to the party but it sounds so much fun.