Rock icons Danko Jones announce two livestream performances in celebration of the release of their 10th studio album Power Trio, out August 27th via MATE in GermanyThe livestreams are set for Saturday, August 28th at 8:00PM ET / 5:00PM PT and at 8:00PM CET and will be streamed live from Bridgeworks in Hamilton, Ontario.

To add to the excitement, the band will also be doing a Q&A for viewers after the performances. Tickets & info can be found HERE

Along with the livestream show announcements, the band has also released a new song today, “Start The Show”. Stream it HERE! And watch the lyric video HERE!

Ironically the last song on ‘Power Trio’, it is essentially Danko Jones’ answer to Cheap Trick’s “Hello There” – i.e., a song tailor-made to be the first song played at a Danko Jones show. It’s a reaffirmation of everything he was put on this earth to do. But in the wake of this pandemic-plagued year, the song also makes for a surprisingly poignant album closer, because it’s a reminder of all the shows that Danko didn’t get to play this past year, and a reminder of how much we’ve all missed that goosebump-inducing feeling of being in a packed club when the house lights go down, the music playing over the PA cuts out, and your favourite power trio emerges from the darkness to kick into their opening tune.  And yet despite this bittersweet subtext, “Start the Show” is brimming with the promise that we will experience that feeling once again—and, after the black cloud of COVID clears, Danko Jones will be there ready to give it to you.

“Start The Show” follows previously released singles “Saturday” and “I Want Out“.  Hitting #1 at German Rock Radio and Top 15 at Canadian Rock Radio, “I Want Out” has seen success with airplay around the globe. In April the band also released a fan-only track “Flaunt It”.  Album pre-orders are available HERE!

Power Trio sees Danko Jones delivering each engine-revving riff, soul-shaking stomp, and shout-it-loud hook with a sniper’s precision. It’s such a simple, self-evident title, but one loaded with significance, as it speaks to the special triangular alchemy Danko shares with his trusty bass-slinging accomplice JC and drummer Rich Knox.  It also stakes out the band’s place on a storied lineage of three-piece titans Jimi Hendrix Experience, ZZ Top, Rush, Motörhead, Venom, Dinosaur Jr., and the Jon Spencer Blues Explosion, to name a few.

The album follows the band’s electrifying, world charting album, ‘A Rock Supreme’ released in 2019. It also sees the band once again tapping into the production prowess of Eric Ratz, who previously amped up the bone-breaking boogie of 2017’s full-throttle rocker ‘Wild Cat’ and 2015’s bloodlusty Fire Music.
Band Photo By Dustin Rabin

Website // Facebook // Instagram // Twitter // TikTok

It’s September 17th 2011; the sun is shining, the birds are chirping and Exit_International’s debut album ‘Black Junk’ was released into the world, and boy was it ready for it.

The critically acclaimed (Kerrang!, RockSound, Alternative Press, The Quietus) Welsh Music Prize-nominated debut album turns 10 on September 17th of this year, and to celebrate their baby turning double figures, Exit_International will be remastering and re-releasing the album on limited edition 180gm coloured vinyl for the first time, also including three brand spanking new, never heard before bonus tracks.

With Black Junk Exit_International have managed to create an album that, a decade on, has still managed to retain all of it’s, erm, charm?  Still as shocking and hard-hitting now as it was 10 years ago, Black Junk is definitely not an album to take home to your Mother.

Since their formation in 2009, the dual bass-led three-piece have created their own brand of ear-shatteringly aggressive rock, whilst throwing in some singalong pop hooks for good measure.

Recorded with Carl Bevan (60 FT Dolls) at his home in a 72-hour chemical haze, their explosive debut Black Junk demonstrates just that. In a sound spectrum of their own, the band unapologetically shuns the use of guitars yet packs a double onslaught of bass into every bar for maximum carnage. Coming in at just over 30 minutes, this short, sharp shock of an album is an intense whirlwind of pummeling staccato bass riffs, brutal, pounding drums and salacious lyrics that are sure to make you blush. The exhilarating ride is topped off by Scott Lee Andrews whose voice effortlessly shape-shifts from ferocious screaming, sinister, demonic snarls and at times high pitched vocals that sound downright inhuman.

Speaking about the album’s re-release, bassist and vocalist Scott Lee Andrews says: “ ‘Black Junk’ still sounds to me as fresh as when we wrote and recorded it, we were not part of any scene and really doing our own thing. You can hear the absence of overthinking things. We wrote these songs really quickly – from what I recall it was on a rehearsal to rehearsal basis then gigging them to just tighten the performances. We spent 2/3 days in total tracking the songs with most of that time spent fixing broken studio gear with our producer Carl Bevan (Drummer of 60FT Dolls fame). Listening back reminds me how much we laughed and how fun that period was, with perfectly capturing that ridiculous lightning in a sonic bottle.  It really does capture the absurd aspects of our personalities as people. It’s a fantastic debut and I’m still so proud of it, and the doors it opened for us”.”

Pre-order now via Here /

Facebook / Twitter /Instagram /youtube

Spotify / Apple Music

ONLINE: Webstore

Geezer Butler, a founder member of Black Sabbath, presents his entire solo records in one convenient place (A box Set) and doesn’t stop there as he also includes lost tunes and other unreleased material. What you get for your money is his three solo albums as well as a fourth bonus disc made up of tht largely unreleased material.

‘Plastic Planet’ was released back in 1995 under the name g/z/r and featured Burton C. Bell of metal titans Fear Factory on vocals and is considered something of a classic of 90s heavy metal. The album saw Geezer’s doomy primarily blues orientated mixed with the more industrial influenced metal sound that was just becoming a big thing in the nineties. This was heavy metal with a thud as songs like the brutal ‘Drive-By Shooting’ raised an eyebrow or two.  Something of a departure from that Classic Sabbath sound this was Geezer taking a chance for sure and certainly not standing still. After the epic opener ‘Catatonic Eclipse’ had twisted and turned its six plus minutes into your ear people should sit more comfortably for what was to come.

With a relatively short turn around 1997’s  ‘Black Science’ which had dropped the G/Z/R name and gone with the simple ‘Geezer’, this album sees Butler again work with drummer Deen Castronovo and guitarist Pedro Howse, and like ‘Plastic Planet’, was produced by Butler and Paul Northfield. Bell was unable to provide vocals this time due to commitments with Fear Factory, but his place on the mic was filled by the then completely unknown Clark Brown who delivered an impressively powerful vocal performance over the album’s high-energy and heavy power grooves. Opening with the ‘Man In The Suitcase’ the direction was similar to that of the debut with the emphasis being on powerful grooves and heavy guitar licks.  There were forays into the unknown like on ‘Mysterons’ with samples and synths being used to enhance the alien and out-of-body experience as the main thrust of the album’s lyrical matter was that of aliens, mystery and that of the unknown. ‘Department S’ had its interesting intro before breaking out and making way for Geezer to open up his bass effects on ‘Area Code 51’ again with its grinding groove metal being the main player. there was ‘Northern Wisdom’ to enter a trip-hop territory with breakbeats before signing off with ‘Trinity Road’

It wouldn’t be until 2005 that Geezer would get the chance to continue his solo explorations, having returned to Sabbath for the 1997 edition of Ozzfest, remaining in the band ever since, but in 2005 he released ‘Ohmwork’, this time under the name GZR again. Once again the album featured Clark Brown on vocals and Pedro Howse on guitar, the difference this time being that drum duties were handled by Chad E Smith (the veteran St. Louis drummer, not the Red Hot Chili Peppers drummer).

With ‘Ohmwork’, it was less industrial metal influences that the previous albums were heavily influenced by, but Geezer still didn’t really lean on his past works with Sabbath although obviously, the influence is there it’s still more contemporary than Sabbath but less than his previous offerings and maybe a more traditional heavy rock sound. Above everything, Geezer was and is a music fan and was passionate about the genre that had served him so well drawing on influences from everything that was going on in rock at the time. The metal of ‘Aural Sects’ to the epic, psychedelia of ‘I Believe’ with its gentle acoustic intro that builds and builds into a swirling epic seven minutes. ‘Ohmwork’ was a welcome addition to Geezer’s solo work and a fine full stop to his trilogy that offered a journey of discovery and experimentation from the Bass player as he expertly weaved his songwriting on one hell of a journey and a decade of discovery.


The bonus disc here features material that will be the disc fans will gravitate towards as it’s taken from throughout the sessions of all three albums with rare and unheard material, including three live tracks lifted from his debut album and feature Burton C. Bell on vocals.  There are plenty of demo versions, instrumentals, and rough mixes on offer spread out over fifteen tracks.


This brand-new collection brings together all three solo albums under one clamshell roof for the first time and also features a booklet with never-before-seen photos from the studio from when the original albums were recorded. wrapping up an impressive set to go with all the other excellent Sabbath packages that have recently been released. Again one not to miss from the very talented and capable hands of Mr. Terance Butler.


*There is also a seventeen-track compilation Best Off to accompany this release with tracks taken from all three solo albums. Obviously entitled ‘The Very Best Of Geezer Butler.

Buy Here

Author: Dom Daley


Nikki Sixx, Rob Zombie, John 5 and Tommy Clufetos Team for a Wild Ride on the
Iconic “I’ve Been Everywhere”

Legendary Track Executively Produced by Sixx

When Scott Borchetta called his friend Nikki Sixx, he knew he needed something with velocity, power, and speed. Charged with helming the soundtrack for Liam Neeson’s upcoming June 25 Netflix thriller The Ice Road, the visionary label founder wanted a rocking ‘psycho-billy’ track to anchor an eclectic collection of songs sampling the American roots music tableau. Talking to the full-tilt bass player and songwriter about a dream collaboration between Sixx, Rob Zombie and Zombie guitarist John 5 possibly writing and executive producing a song for the film, Sixx asked Borchetta to send him an example of the kind of song he envisioned for the soundtrack. Johnny Cash’s thumping “I’ve Been Everywhere” was already earmarked as a hopeful to be included in the film as it really synthesized everything the film was about. Nikki listened and then sent it to Zombie. Both rockers felt the iconic Cash track was the perfect song for them to record.

Sixx called Borchetta back and said, “Why don’t we just cut this?”

The guys were all in on the song that name-checks cities across the nation – and Zombie had the vocal gnarl to bring that weathered, long-haul tone to the song that spent 22 weeks at No. 1 for Hank Snow in 1962. Opening with an ominous audible cloud and industrial noise, a hellish train beat emerges from the lumbering aural wave. Zombie’s voice slices through the ballast, authoritative and churlish. Commanding the ride that begins “”I was totin’ my pack along the dusty Winnemucca road,” his guttural delivery morphs Cash’s intensity with drummer Tommy Clufetos’ crashing attack.

Laughing, Sixx says of the L.A. Rats and their affinity for this song of hard traveling, “Isn’t it ironic? This song that’s so Rock & Roll, that’s so Country, that’s so all of it – it’s the traveling circus, city to city, riff to riff, greasy cheeseburger, rinse and repeat. It’s poetry based on reality – and it’s something every one of us has lived.”

“We wanted to bring that fire that’s Johnny Cash, but it’s also how do we flip it? So John 5 and I brought in this Zeppeliny half-time thing from the beginning with Rob talking on the outro. But I also did some stuff (that suggested the original) like those big walks through the guitar parts upright player style, which is something I don’t do in Mötley or Sixx:A.M. We all had that freedom to go other places, and we did.”

Collaborating for the track, the union of Zombie, Sixx, Zombie guitarist John 5, who was raised on “Hee Haw” and Black Sabbath/Ted Nugent/Alice Cooper ringer Clufetos created a chemistry that was more than the sum of their parts. With a frisson that comes from equal parts rebellion, aggression, fierce musicianship and deep respect for the song, “I’ve Been Everywhere” embodies the intensity of The Ice Road and Neeson’s performance.

“We all grew up thinking great bands don’t follow the rules or drive the speed limit,” Sixx explains. “When I called Rob up, he said, ‘I’ve always loved Johnny Cash, and I’ve always loved this song.’ I think that’s what we all share: we all play live and know there’s this magic (that comes from that); there’s the swagger you can feel, that energy you can smell. This song has all that, and that’s what we went after.”

“I’ve Been Everywhere” is now available via Big Machine Records.

There are plenty of things the world needs now like a way out of a Global pandemic, less Trump and Johnson, and more considerate and caring society. Less selfish social media hungry liars and self-centered oxygen thieves.  We need a return to live shows and people being kind not so much a return to normal because it was the normal that got us into this shit show in the first place.


First-world problems like big businesses not forcing independent artists and labels to wait whilst the plants press up a bazillion more Fleetwood mac and Coldplay reissues.  One thing we certainly need is another Sonny Vincent album and hey presto as if by magic those fine people at Svart have delivered ‘Snake Pit Therapy’  same title as his recent book release this is unbridled Sonny Vincent at his finest.  Launched over fifteen tracks ‘Snake Pit Therapy enters the ether with the abrasive sweet and sour ‘Stick’ with its trademark scathing sawblade six-string attack but it’s a measured opening with melody and cool as rhythm section building up to an explosive solo al be it brief and to the point. In less than two minutes I’m sitting comfortably waiting for the avalanche of earworms courtesy of Vincent and he doesn’t disappoint.


‘Messed Up In Blue’ is a smokey North West San Fran melody stuck to an upbeat rhythm.  Jangly acoustic guitars adding a sweet layer. ‘The End Of Light’ punches in like Bob Mould fronting an undiscovered RFTC tune.  Another great song as Vincent lays it out there lyrically.  By the time we’re only four songs deep into this voyage and there is a subtle difference here with some really cool melodies jostling front and center over the whiplash guitar work (which is still evident but not overbearing).


‘Can’t Absorb’ is laid back almost horizontal with a gentle strum on the electric guitar and pushing Vincents vocal to the fore and one compliments the other really well. Something I’ve always found when playing a Sonny Vincent album is the detail paid to the arrangement and this is all of that but there’s something else here maybe a maturity or the extended break has given Sonny the time to shake things up musically,  whatever it is its clearly paying dividends because he’s produced a really great piece of work here.


‘Higher Than Charlie’ is a hip-shaking garage romp that’s bursting with energy a real tour de force and we’re only at the midpoint.  The record takes a slight detour at this point with some really impressive Garage Rock and Roll pouring out of the speakers ‘Get Out’ is on a huge groove and exits on some awesome dueling guitar work. ‘Japan Mofo’ on the other hand is a slice of rapid Rock and Roll that a real beauty, fast and furious from a – z.

Buy Here

Author: Dom Daley

Gibson Records:
Gibson Announces Launch of Record Label 
First Album With Slash Featuring Myles Kennedy and the Conspirators
 Album To Be Released in Partnership with BMG

NASHVILLE, TN (July 26, 2021) For the past 127 years, Gibson–the iconic American instrument brand-has been synonymous with creating and shaping sound across genres of music and generations of players. Gibson today announced the launch of Gibson Records, headquartered in Music City, Nashville, TN—alongside a strategic label partnership with BMG.

Over the past two and a half years, Gibson has launched successful music initiatives built around their iconic brands, premium guitars, and amazing artists.  Not to mention initiatives that have re-energized the Gibson fanbase and the music community at large including Gibson Artist CollectionsGibson TV, the Gibson App, the Gibson Generation Group (G3)Gibson Gives, and the newly opened Gibson Garage in Nashville.  Gibson Records is the next major step contributing to the evolution of collaborative artist partnerships.

Iconic music that inspired generational movements has been recorded with Gibson guitars since the inception of recorded music. Gibson Records will work with Gibson artists to produce, record, and promote their music to fans around the world, spreading the power of their music, creating, building, and delivering guitar centric music, across genres to fans across the globe.

“Launching a record label that is in service to our artists is the natural evolution of our 127 years of history. Gibson Records will work with Gibson artists to capture, record and promote their music under an artist friendly partnership,” says Cesar Gueikian, Brand PresidentGibson Brands. “Gibson Records will keep all of us at Gibson focused on our artist first culture that is engaged and connected to music. We are excited to launch Gibson Records, to announce that Slash is our first signed artist and that we have entered into a label partnership with BMG.”

Gibson Records has also announced that it has entered into a strategic label partnership for the release with BMG, the world’s fourth-biggest music company.

“It’s an honor to be the first release on the new Gibson Records,” says SLASH. “It’s a zenith in our partnership for sure and having worked so closely with Gibson for so long, I know they will be a label that genuinely supports their artists creatively. Not just me, but all the artists they choose to work with. It’s perfect.”

“Partnering with Gibson Records and BMG presents an exciting and unique opportunity to explore new ideas for marketing and promoting a record,” adds Jeff Varner, Co-Founder of Revelation Management Group (Slash’s longtime manager). “It shows a real commitment on the part of Gibson towards the artist community, and it will serve as a model for future artist releases.  Working with Cesar and the Gibson team has provided a fresh approach to how we can support an album release.”

“BMG congratulates Gibson on the launch of their new label and is proud to collaborate with Gibson Records on its inaugural album release,” says Thomas Scherer, President, BMG Repertoire and Marketing, New York, and Los Angeles. “This is the perfect match between two global brands with an unrivaled reverence for iconic artists and respect to service their creative talents. We are excited to be the worldwide partner for Slash’s new album with Myles Kennedy and The Conspirators and look forward to delivering their new music to fans everywhere around the world.”




Following the release of the new single and video “Dehumanise” from their new album Eye To Eye, The Datsuns’ have announced the release of a limited edition Eye To Eye all-analog phaser pedal produced in collaboration with London-based boutique effects creator Magnetic Effects, which is run by London-based Datsuns lead guitarist Christian.

Magnetic Effects‘ own announcement reads thusly:

“Magnetic Effects are pleased to release the Eye To Eye. A limited edition all analog phaser pedal produced in collaboration with New Zealand band The Datsuns to celebrate the release of their new album also titled Eye To Eye.

“The Eye To Eye is a 4 stage OTA-based phaser capable of many shades of phase including slow and swirly though to fast and intense.

“The versatile control set includes a MIX control which changes the ratio of dry to wet signal. This allows the pedal to blend between dry, phased and vibrato settings. At minimum, you will hear only the dry signal. Set it to noon for equal parts dry and wet, the traditional Phaser setting, and set it to maximum for 100% wet resulting in pitch vibrato.

“The SPEED control has a wide speed range which is extended further via the three way RATE toggle switch which selects the overall speed range of modulation. The middle switch position disables the LFO to enable the Eye To Eye to act as a stationary filter.

“The range of frequencies the phase sweeps through is controlled by the SWEEP control.  Set low for a narrow range and a less dramatic effect, or higher for a wider range resulting in a more pronounced phaser effect.

“The REGEN control produces a more mellow, subtle phase at lower settings and, at higher settings, adds a more pronounced and resonant phase effect.

“A VOLUME control allows you to compensate for any perceived volume difference that can occur when using a phaser. It also allows for a boost in output level for solos.

“Each Eye To Eye pedal is hand built by Christian in London, England.” 

For further details, including stockists, check out Magnetic Effects website here – www.magneticeffects.net











Mid-Century Modern, the debut LP from Toronto power-pop punk trio TALK SHOW HOST declares its love for ‘90s punk, larger than life guitars, catchy pop melodies and indie rock. This is the sound of a band that has taught themselves all the tricks in the power-pop playbook and left notes in the margins.  Influenced by the likes of Bad Religion and Anti Flag from the punkier end of the spectrum they have soaked up the sound of a band polished but with scuffed edges.  Punk but savvy and with a big toe dipped in the indie pool and the other in the loud Rock pool.  Its a magnificent blend.

Talk Show Host have spent their life building to this moment. It doesn’t dissapoint. there is a hint of stuff like Brian Fallons melody or a touch of Soul Asylum going on which is only going to be a good thing and it shines through on tracks like ‘Warmest Condolences’

10 songs seems like the perfect amount to take in on one sitting.  Chris Veinot (guitar & vocals), Fabien Rivenet (bass & pastry) and Sean Woolven (drums & backup vocals), takes us through a spectrum of pop-punk and power-pop from ‘Blood In The Sand’ is the sort of anthemic sing-along that will find you looking for your lighter (or mobile phone light if you’re under 30) with fists in the air singing along by the chorus.  ‘Sorry My Mistake’ sounds like it was written with Arenas in mind so big is the arrangement and execution.  A fine song that will have the punker kids swaying.

Its the sound of a band brimming with confidence knowing that they have a backpack full of tunes, proper tunes that can be all things to all men (and women) you can jump around to ‘Syntax Error’ and if you’re fit enough you can keep up on ‘Up To No Good (Again)’.


Once again the Canadians deliver the good.  Man there must be something in the water up there they seem to churn out bands who know how to make noisy power pop punk rock records, and they do it so well.  Add Talk Show Host to that list and check out this record.  Top marks it’s the perfect sound for a long hot summer.

Buy Here

Author: Dom Daley

Desperate Measures

‘Rinsed’ mini album released September 3rd via Easy Action Records


Buy/Stream ‘Flowers At Your Door’ HERE:


Headline gig at the legendary London venue the Hope and Anchor on July 30th


Support to The Professionals confirmed for their 13-date October 2021 tour


DESPERATE MEASURES, the London/New Zealand punk and rock four piece will release their brand-new mini album ‘Rinsed’ on Easy Action records on September 3rd. Containing six tracks of hard-hitting punk with a big helping of rock n’ roll and available on 10” vinyl, CD and download, these recordings feature the new line-up of founder Eugene Butcher, former Glitterati and current Rich Ragany and The Digressions guitarist Gaff, Ricky McGuire (U.K SUBS, The Men They Couldn’t Hang), and former K-Line/Done Lying Down drummer James Sherry.


Following the release of ‘The Rich-Tual’, the stomping first single from the ‘Rinsed’ sessions released earlier this year comes new single ‘Flowers At Your Door’. Channelling the dark energy of Iggy Pop, Lords Of The New Church and the Doors, ‘Flowers At Your Door’ is a brooding rocker that finds Desperate Measures shifting in new directions with their new line-up with excellent results and is available via Spotify, i Tunes and Bandcamp today.


“Flowers was written after being stuck in pretty much self-isolation for 3 months on last years first lockdown as a relationship went down the pan,” explains frontman Eugene Butcher. “It was a lonely time for a lot of people and this song was born out of all that.”


The video was directed, edited and shot by Craig Temple of Racketeer Pictures and perfectly captures the mood of the song.



Desperate Measures play at London’s iconic Hope and Anchor on July 30th before heading off on a 13 date U.K tour with the Professionals (Paul Cook-Sex Pistols) in October.


Dates are:


JULY 30TH LONDON HOPE AND ANCHOR (Album launch with Vibrators’ Knox and Backstreet Abortions)




Desperate Measures with The Professionals dates as follows:


October 2021
Wed 13th Oct Tunbridge Wells Forum
Thur 14th Oct Oxford o2 Academy
Fri 15th Oct Swansea Sin City
Mon 18th Oct Glasgow King Tuts
Tue 19th Oct Newcastle The Cluny
Wed 20th Oct Nottingham Bodega
Thur 21st Oct Birmingham Castle Falcon
Fri 22nd Oct Liverpool EBGB’s
Sun 24th Oct London The Garage
Mon 25th Oct Bristol The Exchange
Tue 26th Oct Leeds Brudenell Social
Wed 27th Oct Milton Keynes Craufurd Arms
Thur 28th Oct Chester Live Rooms


This 7th record from the Psych Heavy Lords of Altamont and its a body of work that is as uncompromising as the first and one that follows their own beat from day one to the current time with a steadfast group of influences ranging from The MC5 and The Stooges through to the Stones catching shades of styles like Sabbath and Motorhead along the way.  It’s been 22 years of uncompromising single-mindedness that has evolved slowly into this possibly their finest hour yet. If Action Rock is a thing then this is the embodiment of Heavy Action Rock.


Recorded during a worldwide pandemic with members across the globe, its amazing that it ever saw the light of day as the Lords dedication to ‘the old ways’ and paying homage to their sonic forefathers wasn’t possible and having to Mail it in shows the lengths they go to deliver the goods.

‘TUNE IN, TURN ON, ELECTRIFY’ is the perfect title for what you should do when undertaking a listening session with the Lords.  With their emphasis on raw, aggressive garage punk that also takes in elaborate psychedelic trips. Get the sonic rush of “We’ll Never Leave (This World Alive)”, or get your mind blown with “Mud”, then come down again with “Soul In Flames”. Forty-Five minutes of honest heartfelt hard rockin that’s the guarantee you get from these four horsemen of the Apocolypse.

The band has evolved with lineups but has maintained their roots and ended up improving on each record they’ve made sure they’ve not reinvented the Rock and Roll wheel but they’ve kept it spinning and have gotten better at their craft.


Along with The Fuzztones these cats are top of the food chain currently still kicking out the jams and with a commercial edge to songs like ‘Burn Me Out’ with a great hook on the chorus and some quality organ tinkling from Jake Cavaliere.


The tunes keep rolling and are built on a great hook or a melody they just keep on giving.  With the title track or rather ‘Million Watts Electrified’  having a huge groove and hook on the chorus this is excellent stuff but it’s the stunning arrangement that holds the key to how damn good this record is. I’m hoping this Global lockdown has made bands like this hungry to hit the road and tour these records and we’ll be lucky enough to get an eyeful of this Rock and Roll trip because some of these songs would be nothing short of sensational through a huge PA and the billowing dry ice.


Side two starts off with some seriously hard rockin intent as the song’s flow ‘Blast From Kicksville’ is a stomping good time. Bullshit-free high octane rock and it feels great. But then you have your melon twisted with the kaleidoscopic ‘I Just Want’.  There is a Stooges cover just for the CD buyers out there as the vinyl snobs roll their eyes and tut but you can hear it on streaming sites (CD buyers and Vinyl junkies all roll eyes).

With just a pair of tracks left we get the high octane drag racing number ‘Moving (Goats Revenge)’ burning rubber and the well-worn path of denim and leather and Action rocks ties with fast big shiny engines are honoured here.  Which only leaves the epic six-minute ‘Mud (Wet Brain)’ hazy, bass-heavy, drug theme, wailing guitars, vocals dripping with echo.  It’s all here baby Tune In Turn On Electrify! it’s a theme baby and the Lords Of Altamont live it to the full extent if ya believe then throw your arms in the air like you just don’t care because in anyone’s world this is a belter, Buy it!


Oh, and did I mention the die cut sleeve is cool as fuck as well. oh well take it from me it is.


Buy Here

Author: Dom Daley