Sure there is an elephant in the room but to get through this album you’re going to have to park that particular beast and just listen to the record a few times purely on its own merit. Sure Pete was/is a huge part of what made Buzzcocks what they were and that element is no longer there. However, Steve is also a massive part of the equation and he is very much still here and on that basis, he has every right to continue under the name Buzzcocks. So, on that note welcome ladies and gentlemen to my five penneth worth on the brand spanking new Buzzcocks record ‘Sonics In The Soul’.

The record was proceeded by a very nice 10″ EP that contained the opening salvo of ‘Senses Out Of Control’. Now, Buzzcocks had two singers and for me two very different styles there was on the one hand Pete’s pop melodies in contrast to Steves’s more aggressive style more confrontational style so if I were to describe ‘Senses Out Of Control’ as a Steve song for the purposes of this review then you should have a decent idea of where I’m coming from. It’s a banger of an opening track with that Buzzsaw riff thrashing away all downstrokes towards the melodic chorus. It’s a call to arms and with some neat walking bass lines going on under the riff it’s getting multiple plays here after I “got it” and it’s a fine blast of fuck you from the legend that is Steve Diggle.

Are we sitting comfortably? ‘Manchester Rain’ is another uptempo blast but this time with a tip of the hat to Shelley with a nice hook on that lead guitar. It was one of those instant tunes that grabbed me from the first play. Loving the guitar work throughout from the shimmering effect to that one string lick that we all associate with Buzzcocks.

What do I get? Well, I get an album that has a whole bunch of excellent tunes and as I went into this with an open mind I feel I’ve been rewarded tenfold. What a great record from Steve, Chris and Danny – it’s always been all about the music and this record is a worthy contender. Buzzcocks – I love ’em.

Buy Here

Author: Dom Daley

A Bubblegum Punk band from Brighton, England, Young Francis Hi Fi play 2-minute songs about talking to girls, getting high, and hanging out. Though not necessarily in that order.

Young Francis Hi Fi play a high speed, sugar-sweet mix of ’70s American Punk, ’60s Garage Rock, and Bubblegum Pop.

They aren’t just a band, Young Francis Hi Fi are a gang, like their heroes Ramones and The Monkees. Young Francis Hi Fi signs with Dirty Water Records! so expect new music any day now

Next up is the brand new video from power pop rock n rollers The Speedways, taken from the forthcoming LP ‘Talk Of The Town’ available on Snap!!/Hurrah Musica & Beluga Records in November or

As the founder, lead singer, and songwriter of the metal rock band RATTStephen Pearcy led his creation to mega multi-platinum success year after year from 1984 – 1991. RATT climbed up the charts with singles from Out of the Cellar soaring past Prince’s ‘Lets Go Crazy,’ Van Halen’s ‘Panama,’ Madonna’s ‘Borderline‘ and David Bowies ‘Blue Jean.’ 
The record generated top ten singles followed by sold out tours throughout the world. This momentum remained with every proceeding RATT album to include their most recent release of Infestation in 2010. 
Throughout RATT’s nearly four decades of success with Pearcy at its helm, they released 8 albums and played thousands of shows worldwide all the while selling over 20 million records.

Given the mammoth success of RATTPearcy was looking for extraordinary when choosing a label and the only label deemed agile enough for the task was Golden Robot Global Entertainment headed by CEO and President, Mark Alexander-Erber with Pearcy explaining, “It is with great pleasure to announce my having signed on with Golden Robot Records. Choosing a label to handle my music spanning 40 plus years in the industry is no easy task. Although, Mark & Golden Robot have captured the modernization of the industry & marketing, as well as, held onto the old school style that has served me well for decades, both of which are needed to handle a catalog as mine and the new music I bring to the table. As an artist, songwriter, & performer, evolving is inevitable, therefore my team has to be on point & lightning quick to keep up. Mark Golden Robot understand that concept and I look forward to our collaboration. With our first endeavor being the Stephen Pearcy Legacy album, this album will be a career retrospective from 1976 to date. I look forward to sharing never heard RATT classics in their infancy, early RATT with Jake E. Lee, Live RATT, Arcade, solo covers, the last song written with Robbin, the last song written with Warren, and so much more. This is the first time I’ve reached so deep into the archives and it’s truly been a labor of love. Cheers to Mark & Golden Robot, we are about to bring RATT & 80’s music fans the most authentic and thorough archive of music that was an interictal part of creating the 80’s Sunset Strip music scene!”

Alexander-Erber has also expressed his excitement at the finally getting Pearcy over the dotted line after years of courting “Out of the hundreds and hundreds of signings we have had over many years, I have to say after a long while courting Stephen I’m absolutely honoured he has joined our Golden Robot Family, helping us to bring rock back to the forefront. He truly is one of the best and to be part of our roster is wonderful, we have some fabulous releases planned for 2022/23.” 

Stephen Pearcy is expected to release new music via Golden Robot Records later this year. 

The last few albums from Godfathers, I think it’s fair to say were absolute belters. Mainstay Godfather Peter Coyne assembled some fine musicians to hold high the legacy worthy of the band’s rich tapestry and history. Post pandemic and it all changed with a fresh raft of Godfathers to carry forward the sound and fury. Two former Heavy Drapes Billy Duncanson (drums) and Richie Simpson (guitar) alongside former Damned bass player Jon Priestley with guitarist Wayne Vermaak from The Great St Louis completing the lineup for this album.

Written and recorded during the course of the Covid pandemic, the album was produced by The Godfathers’ bassist (and former Damned member) Jon Priestley giving it a glossy yet unfussy production leaving the songs room to breathe and punch their weight. A new band can offer a new lease of life for bands who’ve existed for several decades not necessarily changing the direction but shifting lanes if you like and this is no exception.  Adding an exciting, darker tone to the catalogue. ‘OCD’ borrows a riff and then proceeds to shake the foundations with a rock-solid tour de force. The chorus is simple and will get the heart rate up during live performances.

Coyne has said previously that you don’t have to like the artist to appreciate the art and constantly rotating the musicians might not endear him to many but you can’t deny the guy employs some fantastic players who buy into the music and from ‘Big Bad Beautiful Noise’, ‘Jukebox Fury’ and the superb live album ‘This Is War!’ the players brought the best out of Coyne and the tunes and I’m happy to report that this album follows suit with some very good songs being elevated by a band who gets the MO and buys into the attitude and delivers exactly what The name Godfathers legacy deserves.

‘Bring On The Sunshine’ eases you in rather than beating you over the head with volume and attack its got a cool effortless feel-good about it which is strange for Godfathers as I often feel like picking up a brick and launching it through a window but the chorus and the layers of BV’s works a treat. ‘You Gotta Wait’ is more like it from the power chords to Coyne’s spoken delivery this is what I was expecting. the chorus again is infectious before motoring back into the vverse. The rhythm is rock solid and powers the song leaving space for the guitars to weave an excellent tune.

Song titles like ‘I Hate The 21st Century’ is more like it and the jolting Clash-like melody twists towards the gang vocals that again add a texture that isn’t something I was expecting but works really well giving the song a commercial edge and a really good break down. ‘Midnight Rider’ has an arrangement and delivery that could be Iggy ‘Bla Bla Bla’ period or Bowie’s ‘Lodger’ even. Love those subtle backing vocals – whoo whoos! are always a winner. This is a commercial songwriting edge I wasn’t really expecting and am pleasantly surprised with it. The restraint shown on the playing is really good and works with the music and rather than just Rocking out (which I wouldn’t have complained about) holding back works in the song’s favour.

There is obviously a time and a place where turning the distortion up and just kicking out the jams works and that time is ‘Lay That Money Down’ where the production shines with a clear distorted guitar that hits the sweet spot whilst Billy hits that ride and drives this machine hard.

To be fair the more plays and the deeper you delve into the cuts the better this album gets. Giving some really great songs like ‘Tonight’ and the blistering ‘I’m Not Your Slave’ Hell, the acoustic ballad that is ‘There’s No Time’ is simple in its delivery and adds another texture to the flow of this record before we head into the home straight that is ‘Dead In Los Angeles’ with its brooding hazy delivery even manages something of a West coast feel to the backing vocals as the song twists and turns like the Hollywood Hills.

Closing the album is ‘I Despair’ with its Sonic Temple feel it’s a rocker that has plenty of punch from a band that is delivering throughout the album on every level. Individually these songs are as good as anything the Godfathers have delivered for the past thirty-plus years, worthy songs added to their impressive repertoire. Yet another impressive Godfathers album.

Website / Facebook / Instagram

Buy Here

Author: Dom Daley

Fee Fi Fo… Woah… Dogs D’amour have existed in various line-ups since the early 1980’s, but this current group featuring Gaz Pennick (guitar), Matty James Cassidy (bass), and Simon Hanson (drums) has been together for at least the last 7 years, which I believe is the longest active continuous streak of a line-up over all these years. This has allowed these Dogs to really form their own identity and explore some new musical territories on the new full-length ‘Tree Bridge Cross.’ On ‘In Vino Veritas,’ the band showed that they could channel the bluesy rock n roll brilliance of the late 80’s and early 90’s on songs like ‘Bottle of Red’ and ‘I Don’t Love Anyone.’ They also channeled a darker edge on a brilliant song like ‘Black Confetti’ and a classy embellishments on the gorgeous title track. The band followed up with another release of brand new material in the terrific ‘Jack O’Byte Bluesey Vol. 1’ where they pursued a darker bluesy direction. Now, after a lengthy delay due to issues getting vinyl pressed, Dogs D’amour have returned with a great album that channels from the spirit of the past at times but firmly plants itself in some new musical directions.

Many of our favorite songs and albums over the years have the gift of nostalgia and memories associated to those times that provide stories of our histories and who we are. I believe it is only natural that those songs take on deeper meaning over time as our youth moves further away than we would like. Why do I mention this? This album feels like bringing those memories together as people meeting in the darkness of a dive bar where new memories are formed to continue the journey forward. Starting off with the title track, the electric guitar gives way to a spoken verse by Tyla and introduces a song that I cannot really compare to any in the band’s background. The driving beat by Simon Hanson allowing everything to work around it, whether it is the tasty piano touches, the electric guitar, and the vocal hooks. If anyone remembers the Tyla song ‘Declaration,’ this has a similar vocal delivery but with a full band backing. The ending solo piano note is the perfect closing touch. ‘Journey to the Centre of the Soul’ has been one of the pre-release singles and showcases the depth of this release. I hesitate to use the words mature or grown up as some may take that in a negative sense. Self-reflective might be a good description lyrically. The warmness in the music is welcoming and feels like the greeting of an old friend. The rhythm can create a feeling like falling if you close your eyes and focus on it.

The band transition to the more acoustic based rock of ‘Steal Your Love Away’ with some extra vocals by Quireboys singer Spike (like it or not Griff). I can imagine a full room singing along to this one with a glass in one hand and the other one in the air helping bellow out the chorus in a show of solidarity with everyone in the room. ‘God Only Knows’ takes things in a heavier direction with awesome vocals preaching over some electrifying guitar. The closing mantra of ‘god bless ya’ winding things down and serving as the only initial vocal hook across the song. Repeated listens have since revealed me singing along across the entire song, but it is very subtle in its contagiousness. ‘Angel Lane’ closes out side one with a noisy semi-ballad featuring a big chorus that would not have been out of place on ‘More Unchartered Heights of Disgrace.’

Kicking off side two, rocker ‘Buried Alive’ sounds better to me as a full song than the sample clip did when the album was originally announced. While it is my least favorite on the album, it has grown on me with each listen. This is another one where the piano in the mix adds a great element to the song. For those that spring for the 2 CD version, there are acoustic versions of nine of the songs, and I prefer the acoustic bluesy version of this one. Let’s see if this becomes a grower over time.   ‘Raining Fire’ meanwhile has been a favorite since an extended version of the song was offered a couple years ago. Tyla opens with a spoken word piece with the song featuring the Dogs at their heaviest with a killer rhythm and chorus. I cannot listen to this song at a loud enough volume. Pennick and Tyla supply great guitar work throughout the song while Hanson and Cassidy supply the thundering rhythm. ‘Powder Dry’ should be familiar to most as the featured single prior to the album’s release. This is another mostly full band acoustic treat with some great piano work throughout the song. Strong backing vocals adding depths to the song and the mix. The electric guitar solo cuts brilliantly through the mix. Cassidy’s bass work gets to stand out and shine in the mix on ‘Moth to the Flame.’ This is another one that finds the Dogs learning new tricks and, to borrow an old phrase from Tyla’s past, perhaps best described as ‘a soft song for hard people.’ Closing the album is the freaking beautiful ‘Ghosts.’ Musically and lyrically, this is a classic on arrival as it is just Tyla on acoustic and vocals with Scotty on piano. I do not believe anyone else is playing on this one. My favorite Dogs album closer has always been ’She Put It in Here Arm,’ but this one has already transcended it. Tyla’s vocals are perhaps the best they have ever been on this one.

Another brilliant album for these Dogs who continue to showcase new wrinkles and refuse to live in the past. Lyrically, I reckon I speak for many of us who have been fans since the beginning who can relate to the more self-reflective thoughts here than thinking that we can still fall in love if we fell ‘down the stairs into the arms of a girl who really cared.’ Hopefully, these songs find their way in front of new listeners who can appreciate great rock n roll played from the heart.



Author: Gerald Stansbury        

The self-styled kings of South Wales Action Rock are back. Two years after ‘Stole Your Rock N Roll’, Deathtraps release their fourth long player in October, but preorder now and you can dive in via Bandcamp. The previous album was a highlight of the confinement (lockdown) period in my adopted France, belting you round the ears in no uncertain terms.

And, even with the minor involvement of one Johnny H Bomb, the boys could not be persuaded into spandex and synths. Phew! No, it’s business as usual, with Veej supplying yet more addictive riffs. Some things don’t need changing. Fraser’s vocals occasionally wander into Lemmy territory, which is no bad thing, and ‘Let’s Kill Rock N Roll’ is the ideal opener. At just over two minutes long, Uncle Ginge would approve.

‘Red Eyes, Black Kisses’ rattles along, “I’m rooting for the bad guy”, while ‘What If Jesus’ wouldn’t be out of place for prime-era Turbonegro. Very nice. Eleven tracks of lean rock n roll, not a ballad in sight, but ‘Candy Darling’ changes the pace a little. An ode to the Warhol Factory legend; “she’s a bad boy”. As pop as Deathtraps are capable of being and very catchy.

‘Let It Burn’ and ‘Rip Em Off’ are back to their brutal side, with some nice Ron Asheton-style licks in there for good measure. ‘Press Darlings’ isn’t the Ant’s song of the same name, but has some sweet, melodic touches. ‘Too Much Is Never Enough’ is a suitably foot-on-the-floor song to end on.

Sharp, snappy, but with some satisfying, unexpected moments, the album passes by in a flash, and you’re pressing ‘play’ again. You want some quality Action Rock? Then Get it here. Get it now!

vinyl/CD preorder, released 21st October 2022

Author: Martin Chamarette


Today, Manic Street Preachers have made available a brand new track recorded at the time of their sixth studio album ‘Know Your Enemy‘. ‘Studies in Paralysis‘ was recorded at Miloco Studios in London but left off the original 2001 release. It has remained unearthed until now and is available on the entirely remixed and reconstructed re-issue of the record available on 9th September on Sony Records. The song, which Nicky Wire incorrectly remembered as being released as a b-side to one of the album’s four singles, is a red raw rock’n’roll song with a none-more-classic Manics title celebrating the blankness and inertia that comes with the loss of belief.  Another lost track ‘Rosebud‘ came out last month  and was accompanied with a Kieran Evans film

It started with an email from Wire (it always does!).  Would I be up for working on visualising two unheard tracks from the ‘Know Your Enemy’ sessions that were to feature in the beautifully expanded and reworked re-issue of the album?  Of course I would!  Both ‘Rosebud’ and ‘Studies In Paralysis’ landed an hour later and were stunning and took my breath away. Fuck me…They left these off the original album…what were they thinking???!!!
An hour later, another email landed from him – “I’ll send some DV footage of the Miloco sessions up to you”. But this footage was very different from previous recording sessions he’d filmed. There was a seriousness to everyone’s behaviour and recording performances. There was no frivolity or funny off camera ‘moments’. The atmosphere felt intense, you could feel the pressure they were under
Cutting this footage to ‘Studies in Paralysis’ was a task. I went through many iterations and edits to get the right “feel” to reflect what is a truly glorious song… Thankfully…I think we definitely got there in the end“.
‘Know Your Enemy’ will be available as two separate albums as originally planned, ‘Solidarity’ and ‘Door To The River’ packaged as a 3 CD bookset, double CD and double album on 9th September 2022.


As we made our way to Bristol in plenty of time to make sure to catch Those Barstool Preachers we find out there is a curfew and by the time we rock up to the venue there is a queue almost back to the Severn bridge and then as we near the venue we hear the unmistakable tones of The Bar Stool Preachers strike up the chords to ‘Trickledown’ and to be fair we made it through bag check in quick time as the venue fills up with people being drawn to the main room to witness a band that is blowing up right now after signing a two-album contract and having recently played two huge sets at Rebellion before taking up their position on the Interrupters European dates the band are just about getting their second wind ready for the UK leg of the tour.

Tom is twisting and spinning across the stage as the band thump out a rather splendid set of older and new tunes enthused with their good news they soon find the empty room is now full and the people of Bristol are eating out of the palm of Mr. McFaul’s hand. They make the most of the short time they have on stage to entertain with a tight, short but oh so sweet ‘Chose My Friends Over You’ before knocking out ‘All The Broken Hearts’. By the time they were getting into their stride with the excellent ‘When The World Ends’ they could have been headlining such was the feedback they were getting from the appreciative crowd. Time was at an end and they only had time to give Bristol a cockney knees-up display as the anthemic sing-a-long of ‘Bar Stool Preacher’ played out to rapturous ovations. they came they saw and they bloody-well conquered – onwards and upwards next time they’ll be headlining venues like this.

Next up were The Skints from London Town. Not a band that features on my radar but I did catch their set last time the Interrupters played Cardiff just over the bridge they have the Ska chops and skank with the best of them with some added Space ska thrown in for good measure. Hell, they even throw in some flutey tones on ‘The Forest For The Trees’ (Rumours that Marcia was standing Tull style on a toadstool on the one leg was unfounded) they do look like they love it and play with a genuine smile on their faces, but again I don’t get it and the set washes over me – we can’t like everything and I appreciate them for what they do, I can see they do it really well and the drummer Jamie cuts the chops leaving the rest of the band to layer those Ska skanks and bass thumps well and they seem to be in their sweet spot as far as tonight’s audience goes, They give them a rousing ovation after every song, not so much punky-ska but I’d say experimental reggae ska for the most part its light and breezy.

Onto the main course and The sweat box that is the Marble Factory is now full to bursting and even the walls are perspiring – It’s insanely hot inside the venue as The headliners make their way onto the stage for a 90-minute set that is executed to a tee and tonight pretty much free from the patter of previous shows – tonight it was on with the show and as soon as one song finished it was pretty much into the next. Making up for the lost time due to covid the band sounded tight and like they were having the best of times. Running through their greatest anthems it was hit after anthem after hit and tonight The Interrupters were almost literally on fire. Barely pausing to breathe they sounded fantastic with added brass on stage tonight it was a welcome addition to their sound as they ran through their back catalogue including some of the new material off their number one album ‘ In The Wild’.

It was pretty much the same set they’ve been playing every night throughout Europe kicking off with ‘Take The Power Back’, into ‘Title Holder’ followed by the splendid ‘Judge Not’ where that trombone was put through its paces. It was relentless as ‘Raised By Wolves’ off the new record went down as well as ‘turntable’,’Arrested’ or ‘Got Eachother’ they were slaying the audience with the intensity and quality of their performance. Aimee and the twins criss-cross all night grinning from ear to ear and feeding off the positive vibes pouring out of the audience. this has to be one of the most positive touring circuses in a long time the PMA is level 11. the audience which is made up of children right up through punks, skins and everything in between The Interrupters have crossed many divides and are infecting city after city with their good time tunes.

We get told that having a ‘Friend Like Me’ is for everyone and I think they mean it, like genuinely mean it. ‘By My side’ was causing quite the party on the dance floor before it was time to run through some Cock Sparrer for their esteemed guest on the balcony before running through some snatches of Hellcat and Epitaph records legends ‘Keep Em Separated a bit of Rancid for good measure before settling on some Bad Religion ‘Sorrow’ for their cover of choice. I thought Covering Cock Sparrer was pretty good.

There was just enough time to wring out your clothes before heading into the encores with gusto ‘Gave You Everything’, ‘Family’ left them just enough time to squeeze in a rousing finale that was ‘Shes Kerosene’ and then we were done. Soaking wet yet beaming smiles all around, The Interrupters were fantastic and that was the best I’ve seen them. They’ve really hit their stride and are currently smashing it. If you’re feeling down catch a date on this tour or go see these bands it’ll sort out any dark clouds and fill your head with great music. Just what live music should be – excellent, can we do it again soon, please?

Author: Dom Daley

“The Demolition 23. album is one of my favorite albums of my career and definitely one of the best.”- Michael Monroe

“Me and Michael were talking about how much we missed the original Punk music of the Ramones and Dead Boys and Sex Pistols and Clash and decided to do an album in that spirit.”- Stevie Van Zandt

Stevie Van Zandt’s Wicked Cool Records has announced plans to reissue the sole album from Demolition 23.digitally for the first time ever, and on CD + ‘Blue Smoke’ vinyl, on October 14. The band, which formed in NYC in 1993, consisted of former Hanoi Rocks frontman Michael Monroe, ex-Star Star guitarist Jay Hening, Monroe’s Hanoi Rocks bandmate Sami Yaffa on bass, and Jimmy Clark on drums.’Demolition 23.’ (which had a limited release in 1994, but has since been out of print for years) was produced by Van Zandt, and features collaborative songwriting efforts between Monroe, Van Zandt, and Jude Wilder, and one track (“Deadtime Stories”) co-written by Monroe/Stiv Bators. The album, a return to the members’ punk roots, also includes covers by Monroe’s influences and friends, including Stiv Bators (“Ain’t Nothin’ To Do”) and Johnny Thunders (“I Wanna Be Loved”). Many of the songs from the record have become staples in Monroe’s live sets, which recently have included festivals and a stint opening for Alice Cooper.The digital and CD release of ‘Demolition 23.’ includes all of the original songs, along with 3 bonus demos. See track listing below. The physical versions of the album include a booklet with photos and liner notes from Monroe, detailing each song — with additional notes written by all of the living band members. The vinyl also includes a download card for the bonus tracks. The band’s logo was designed by Yaffa, who continues to play with Monroe to this day.In advance of the self-titled album’s re-release, a track titled “Hammersmith Palais” has been released to streaming sites, along with a demo version of the song.
Pre-save the album here

Michael Monroe on the single “Hammersmith Palais”:

“Hammersmith Palais was this great club in London where we saw a lot of brilliant, legendary shows by some of the coolest bands ever. I played there once guesting on sax and harp with the Lords of the New Church. Unfortunately in later years, the place was closed down and replaced by a boring office building. The song also refers to some great, fun times in the past that will never return.”

Michael Monroe on the re-issue of ‘Demolition 23.’:

“The Demolition 23. album is one of my favorite albums of my career and definitely one of the best. I had the pleasure and privilege of having my great friend Little Steven as the producer. This was originally going to be a Michael Monroe solo album, but we had put together such a strong group with Sami Yaffa on bass, Jimmy Clark on drums and Jay Hening (RIP) on guitar, that I decided the band should have a name. Sami Yaffa suggested “Demolition 23” from the William Burroughs book “Exterminator” and it immediately hit a nerve.

Little Steven and I had been writing the songs with very much an authentic kind of Punky Rock& Roll attitude and style. We also wanted to pay homage to the late legendary unsung heroes and my friends Stiv Bators and Johnny Thunders by covering one song each– The Dead Boys’“Ain’t Nothin’ To Do” and Johnny Thunders & The Heartbreakers’ “I Wanna Be Loved.”

The album was recorded at the end of 1993 at the Power Station Studios in New York City by the great engineer Ben Fowler. This was one of the easiest and most fun times I’ve ever had recording an album. The comfort of having the production in the good hands of Little Steven allowed me to relax and enjoy doing my thing. Steven brought out the best in everybody and we didn’t waste any time. We laid down the basic tracks, drums, bass and guitars for the 10songs in 3 days and I did my lead vocals in 2 days. It was like 2 vocal takes per song, then Steven would say “Ok that’s good! Next!” After the 5 days of recording, we mixed one song per day, so the whole album took about 2 weeks to make. And it still sounds great today. This record was never officially released in the States, but now Little Steven is FINALLY releasing it on his Wicked Cool label for everyone’s enjoyment.

As bonus tracks, we’re including 3 demos that we recorded at New York’s Baby Moster Studio prior to recording the album. I remember when we finished our session there, the Ramones came in and started setting up for the next session to record their cover of “I Love You” for the Johnny Thunders tribute album “I Only Wrote This Song For You.” I’ll never forget when Johnny Ramone started hitting some chords on his Moarite guitar–it was so loud you could hear it in every room of the studio. Anyway, these 3 demos already indicate what a great chemistry Demolition 23 had as a band. Hope you dig this album as much as we all do!

Stevie Van Zandt on the Demolition 23. reissue:

“The Demolition 23. album is one of my favorite records. Me and Michael were talking about how much we missed the original Punk music of the Ramones and Dead Boys and Sex Pistols and Clash and decided to do an album in that spirit. It was written in two weeks and Produced in two weeks. Love it.”

With an 8 pm start, I settled down in an empty bar with my pint only to hear Deathtraps strike up a thunderous din in the live room thinking they were soundchecking then to my surprise a ripple of applause rings out. Bring the start time forward if you like, Jesus wept so we creep in and are greeted by the South Wales trio hammering through their set at breakneck speed and Lemmy-like volume which seems appropriate considering the new album reminded me of the now deceased hard rockin legend in places. The new album was still ringing in my head as the band struck up the excellent ‘Press Darling’ lifted from the rather impressive album that has a lot of variety to be fair and whilst they won’t shout it from the rooftops we will. Deathtraps have some bangers in their repertoire and are tighter than ever and will entertain you with their potty mouthes.

Next up was The Charlemagnes who I last saw in this very venue but supporting who I haven’t the foggiest but I can say that once again they impressed me with a short but oh so sweet set of Garage rock n roll. Unlike Deathtraps, there wasn’t a lot of crowd participation and rude words but what they do have in common is some great tunes. There was a broken E string which you don’t see that often from a bass player which in itself is impressive but using the evil powers of rock n roll they carried on with their mission of rockin’ le pub and warming up the audience. Which they did, and did it very well if you happen to be near where these gents are playing then my advice would be to take in the show they have tunes! They might still only have three chords but they now have the whole truth.

Two down one to go. Crazyhead amble on whilst their backing tape plays Nancy Sinatra to soften up the expectant audience. My Pork Beast for you have a very shiny helmet tonight as it glistens off the low-lit lights of Le Pub they wasted no time in getting down to business with Time has taken its toll B Side ‘Down’ grooving into life Le Pub was up for it from the off as ‘Some Kind Of Fever’ was about to get a shakedown and ‘Big Sister’ bled into ‘Everythings Alright’ and this criminally underrated band was proving they still had the chops and Le Pub was jumping and singing every word back at the band.

‘Rags’ sounded together I wouldn’t say tight because that’s something Crazyhead aren’t but they are together and the songs sounded fanfuckintastic. They opened up the songbook tonight and treated those in attendance to a romp through a magnificent rendition of ‘Out On A Limb’ and then straight into ‘In The Sun’. The singles were played to much appreciation from the audience as ‘time Has Taken Its Toll’ made way for a brutal ‘Jack The Scissor man’.

As the evening wore on the band looked relaxed and some good banter went back and fore with certain members of the audience and Vom in particular. A cheeky ‘Tower Of Fire’ seemed appropriate at this point before they dusted off the greatest titled single of all time – ‘What Gives You The Idea You’re So Amazing Baby?’ but to follow that up with ‘Snake eyes’ and ‘Baby Turpentine’ it seemed futile to carry on it wasn’t going to get any better than that was it? Fuckin’ right it was!

A non-encore encore sees the band not leave the stage before playing ‘Bang Bang’ followed by ‘Have Love’ before a rather splendid cover of ‘TV Eye’ and then it really was goodnight as ‘Sinking Feeling’ brought the curtain down on a bloody fantastic nights entertainment – where value for money was had by all and three excellent bands rocked and rolled like their lives depended on it under the warm Newport lights. Beaming punters filed out of LePub rejoicing in the return of Crazyhead. So please can we do it again soon because a 30-year gap between seeing the band is too long Swamp Delta a few years ago doesn’t count. If this is what people call heritage rock then bring it on, I’ll take that all day and every night. Just hope I don’t catch some kind of fever…I’ll get me coat.

Author: Dom Daley