THE DELINQUENTS are a new band that comes from Italy, with members of IDOL LIPS and RAZORLIPS. They play punk in the way of DICTATORS, THE DAMNED, RAMONES, THE HEARTBREAKERS or THE SEX PISTOLS but with their own and unique 77 punk style. The album kicks off with the sound of a cowbell being thumped as the raw guitars riff like a motherfucker drawing from their influences before racing off into the distance with a mob vocal snarling ou tthe lyrics like they’re looking for a street fight.

What you have is eleven tunes dripping with the sweat of a band that love their craft and believe 100% in what they do and why they do it. The music pretty much does what it says on the tin here kids from the opener ‘Delinquents’ right through the punchy rampant sleazy ‘Burning’. They settle into that groove on the rockin’ ‘Fall Down’ with all the fills and guitar licks that have been neglected by many with the Thunders string drags and barre chords it’s a top tune. There’s enough genuine nostalgia here to bring a tear to any neckchiefed pirate lover who hankers after the good old days when giants walked the earth like prime-time Thunders and his Heartbreakers or those Dead Boys were offering danger whilst Hanoi were in full flight, this record offers a glimpse into that world and they do it really well like the rapid ‘Can’t You See Me’ which is full-on 77 punk rock with some muscle and ground happening.

‘Fix Me Up’ ushers in the hypnotic riff-a-rama of the Stooges but if they were to head down a Dolls path and were from the LES rather than Ann Arbour. ‘Make No Sense’ is something down in the dirt where Brian James took his riffs from the Rock n Roll gods. It has some of the more recent magic left behind in a trail of dust like The D4.

There are recycled licks and I love that ‘Love O’ and ‘Miss No Fun’ that remind me of Star Spangles and with a dash of The Joneses for good measure, what’s not to like? If any of the bands I’ve referenced pluck your heartstrings then this is an album you should seriously consider jumping around to. It’s a pretty full-on thirty minutes with no time to gob or take a breather not even on the way out its banger after banger of sleazy punk rock n roll. ‘Red Ruby’ and ‘What About You’ just chew out the rhythm and you can shut the door after I’ve left in a blaze of glory. turn it up kids and see you on the other side I’m heading out in a hail of rock n roll bullets with The Delinquents because these cats know what’s going down so turn it up and play on!

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Author: Dom Daley

Back in 1982, Motorhead were riding a wave of success. After their seminal Ace of Spades album took them to the top of the heavy metal tree in 1980, they then scored a number one with one of the greatest live albums ever released – No Sleep ‘til Hammersmith in 1981.

How do you follow that? The pressure was on the three amigos to come up with another album. The recording of the album that would become Iron Fist began with Ace of Spades producer Vic Maile at the helm. As time went on though, the band decided that guitarist Fast Eddie Clarke should take over as producer (Clarke had recently produced Tank’s debut album).

 Clarke took over as producer reluctantly and the band holed themselves up in Morgan studios and Ramport studios in London. The album was released in March 82 and did reasonably well, getting to number six in the UK. Unfortunately, it was to be the last album with the ‘classic’ line up of Lemmy, Philthy Animal Taylor, and Clarke. The stage show of the tour became Spinal Tap esque with a giant fist that was meant to open up but it malfunctioned more than it functioned! Clarke left the band, and he was replaced by Brian Robertson (Thin Lizzy), that’s another story!

Jump forward 40 years and we have an anniversary edition of Iron Fist along with unreleased demo tracks and a full live concert from the Glasgow Apollo in 1982. The Iron Fist album was always a bit patchy, and you can tell that some of the tracks were simply thrown together. There are some great moments though, the title track is still as powerful as ever, Heart of Stone has always been a favourite of mine, and (Don’t Need) Religion grooves like a bastard! I always loved that album cover art too, that metal fist is umm.. metal as fuck! The band did look a bit daft with the whole leather, studs, and swords bit though. It was the eighties after all…

The demo tracks are an interesting listen with some alternative versions of tunes that ended up on the album. The band are as tight as a duck’s backside and it’s fantastic to hear in insight into the recording of the album. Lemmy Goes to the Pub is an early incantation of Heart of Stone and its alternative lyrics are hilarious! ‘You never buy a bastard drink’ ha ha…

It’s not surprising that the best part of this anniversary release is the live concert. It’s raw, rowdy, greasy, sloppy, and of course, fucking loud!! Motorhead always sounded better live, the production of the early albums was always a bit hit and miss, I suppose that’s what we love about them though… they certainly never conformed to any norms. All the classics are here, Bomber, Overkill, Ace of Spades, We Are the Road Crew, Capricorn.

The 40th anniversary release is being presented in new deluxe editions. There will be hardback book-packs in two CD and triple LP formats. The original album is remastered, and we get the story of the album and many previously unseen photos. There’s also a limited edition, blue and black swirl vinyl version of the original standalone album.

You know me!! Play it fucking louder than everything else!

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Author: Kenny Kendrick

This was a strange week all round, uncertainty if the show would go ahead as a result of events in Scotland and my regular chauffeur pulling out. The gig was given the go ahead and I decided to take my 23 year old son ( thus ensuring I wouldn’t be the youngest in the audience). I have been accused of “child abuse” for making him listen to Angelwitch albums on the school run, now I was going to subject this pop punk loving drummer to prog epics over twenty minutes long.

I could see him enjoying the second half even if he didn’t know this Genesis album the vocals would keep him interested but the first hour of mostly instrumental Hackett highlights would be a tougher sell. My saving grace was as a musician he could marvel at the band and boy what a band. Ace of Wands opened the show then it got dark with the Devil’s Cathedral with Nad Sylvan singing the tale of the rogue understudy, Everyday sounded more Genesis style then A Tower Struck Down with its ominous doom brought us back down to earth. Camino Royal was a highlight then the musical section from Shadow Of The Hierophant brought the first half to a close. A thumbs up from my Green Day boy so things are looking up for the second half.

A half-hour interval for us older gentlemen with dodgy prostates was welcome then the main event begins. Like many mid fifty-year-olds my introduction to Genesis came via Marillion and I know it has been said a million times the clues are there. As an avid listener of Tommy Vance, his end-of-year list regularly featured Suppers Ready in the top three but it took me a few years of Grendel before I was ready to tackle it.

New backdrop lots of dry ice and Nad like an overlooking angel resplendent in a long black coat and red eyes( a simple but effective trick of two penlights with red bulbs ) heralded Watcher Of The Skies, swiftly followed by the I’ve always thought underrated Time Table which was one of the many highlights.

Get Em Out By Friday as always was masterful but Can Utility and the Coastliners I’ve always not taken to and tonight was no exception. Steve was left alone with an acoustic for the sublimely beautiful Horizons then it was time for the behemoth that is Suppers Ready. It was everything it should be overblown, pretentious, and a lot of fun I must admit I had something in my eye at the end of it.

Set list FM is my go-to cheat and the opening night of the tour in my fellow Welsh City of Swansea had Firth of Fifth and The Knife as encores, we got the former which with its sweeping keys and Steve’s magnificent arpeggios (check me out with technical terms ) was my favourite part of the evening but unfortunately instead of the stabbing staccato (and again) of The Knife we got a trio of Myopia/slogans/Los Endos very good but I had Jack Knife envy.

A fantastic night not every day you convert a twenty-three-year-old pop-punk drummer into a prog fiend now he will want Tales From Topographic Oceans but that may be a step to far even for me.

Author: Chris Phillips BGFM

East Midlands-based punks Noose are here with a new record that’s full of life and energy that’s got a whole bunch of appeal from the sprightly opener with sing-along gang vocals on the chorus ‘Taking The Piss’ is direct and punchy. It’s got a great warm production and a fine introduction.

The energy is something that continues through the songs on offer as are the sing a long choruses. There’s a familiarity about the chorus of ‘Julie Andrews’ it’s got a similar structure to Dirtbox Disco with the join-in after only a few plays. Gotta love a handclap and on the ‘Weekend’ they kick things off. Its got some foot stomping glam rock going on in the melody but good glam rock (old school not the 80s kind).

The band signs off with ‘Monstrocity’ and then they’re gone. All round a very impressive introduction to the work of Noose and their catchy, hook heavy hard rockin punk rock n roll. Get some and join the cool kids!

There’s a great feel good vibe happening on this record its certainly got some bounce and energy in the uptempo tunes ‘She Gets Me’ being a great example. These guys would have made for good sparring partners for a Wildhearts tour with their energy and style it’s certainyl got the Rock factor wrapped up with a bit of added edge and there are sing a long choruses everywhere. ‘Bet She’s Thinking’ is bright and rapid with a cool breakdown on the verse before everyone joins in on the chorus. Andrew Cragg does a splendid job on songwriting and being the vocalist and guitar player he has his hands full getting a band together to keep up with him.

I particularly like ‘Gotta Gun’ for the attitude and a punch from the rhythm section that makes for a really good tune. Before the band signs off they have ‘Heartbreaker’ that pretty much carries the flag for the album and one they’ve made the lyric video for its not my favourite track on the album but it certainly gives you an insight as to what to expect.

The vibrant ‘Monstrocity’ rattles along at pace firing off all that is left in the tank and their work here is done. Punchy, hook-laden, punk rock n roll motherfuckers! now go get some and join the cool kids rockin out like their life depends on it.

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Author: Dom Daley

UK punk band Grade 2 share a rebellious new single and accompanying music video titled “Doing Time.”The straightforward thrasher is complete with an angsty shout-along hook and rhetoric condemning the mundanities of the corporate nine-to-five. Correlated to a life behind bars, the band effectively uses poignant lyrics such as “I’m just a number in the system with a lifetime parole...”

United by a love of old-school punk, ska and oi, childhood friends Sid Ryan (vocals, bass), Jacob Hull (drums) and Jack Chatfield (guitar, vocals) formed the band at 14, honing their craft playing Clash and Jam covers before refining their own sound and songs. A European tour supporting Stomper 98 brought admiration and friendship from Rancid’s Lars Frederiksen, leading to introductions and the eventual signing to Rancid cohort Tim Armstrong’s legendary Hellcat Records in 2018

Grade 2 will be playing a handful of UK shows in March 2023, please find the full list below.

March 7, 2023 – The Lexington, London

March 10, 2023 – Louisiana, Bristol

March 18, 2023 – Classic Grand, Glasgow

March 19, 2023 – Star & Garter, Manchester

Tickets are available on band’s WEBSITE.



Album number bazillion in about two decades has brought us to this point. John Dwyer’s projects have been numerous and bastardised forms of the name Osses, Thee Osees, the Osees etc. In fact, it’s album number twenty-six and it’s a roller coaster rip-snorting ride of epic proportions. Imagine scummy, crusty hardcore, jazz (steady on folks), krautrock, experimental all thrown in the washing machine that is Dwyer’s mind.

‘funeral Solution’ begins with some cyber static before the charge begins. Razor blade guitars thrashing like the Dead Kennedys never hit a note and Dwyer ranting like he’s been locked away in Fritzels basement oh that’s where he recorded the drums as well by the sounds of it. Halfway through the repetitive hacking of the cyber feedback and rampant breakbeats rumble on.

‘Frock Block’ screams in, barely hanging on by a thread it hammers on a riff and a scream for 90 seconds. Perfect. If you haven’t worked out what’s happening here then look out your mind is about to be fucked. Twenty-two minutes of battery-licking shocks that you know you shouldn’t do but can’t help yourself.

‘Too Late For Suicide’ bucks the trend momentarily and goes for a slower fling around your head. It’s got elements of when the beastie boys went hardcore and must have recorded some demos. It’s hardcore baby but there’s more going on here – Dwyer is fucking with your head for sure there’s Beck and Pavement as well as bad brains and Crass.

The title track is like Charlie Harper fighting to break through in 82 with Discharge at the helm. Some great song titles which I’m sure the songs were built around like the full throttle of ‘Scum Show’ and ‘Fucking Kill Me’ is Keith Morris and OFF! or Circle Jerks fucked up uncle having a go.

‘Perm Act’ is like the Banshees jamming with Jello on an audition for the next batman comic book flick – head fucked and an attack or observation of bad cops. All very hardcore and on point (to use an ‘orrible term)

It’s fucked up and fun and I’ve no doubt the next album won’t be anything of the sort but this bad boy is ace.

There’s even time for a cover to sign off in the shape of the thumping ‘Sacrifice’ by British anarcho-punks Rudimentary Peni. Strange choice but then everything about this record is strange but boy is it good! Check it out it’ll fuck you up and you will enjoy it.

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Author: Dom Daley

(Atlanta, GA USA) Big corporations are peddling deceiving “disposable plastic.” Recycling programs are being discontinued due to cost effectiveness. And here we are frozen in indecision: what do we do for the ailing planet? Helpless and hopeless, some say f#$@ it, and others get punk rock about it and make a rousing statement. Today, the post-riot grrrl four-piece band, How Tragic, takes a stand with its achingly-beautiful apocalyptic “Goodbye Cruel World” video.

“The world is burning, the ship is sinking, and people are like ‘what’s the point in even trying anymore?’” says the Brooklyn, New York-based songwriter, singer, guitarist, producer, and director Paige Campbell. “It feels like we can’t do anything to help; it feels like there’s no point in trying; it feels like we don’t know who to believe and what is the truth. There’s a special place for people who still have the fight left in them, and this is their song.”

The “Goodbye Cruel World” video boasts breathtaking landscapes; stylishly, high-concept cinematics; and a captivating video performance by Paige. The backstory behind the video is that Paige, and two of her friends, found themselves stranded together when the pandemic took over. They were confused, terrified, and kind of curious if they could spend lockdown doing something creatively constructive. The trio set out on a cross-country adventure that stretched from the vintage elegance of the Silver Sands Motel in Southampton NY; to North Carolina in a ghostly KMart location being liquidated, and the gorgeous sand hills in Jockeys Ridge State Park; to Bisbee, Arizona at a vacant beautiful hotel and artist retreat and in the desert; and, finally, back to New York City months later with How Tragic reuniting for a filmed street performance at Coney Island.

“Goodbye Cruel World” is a mid-tempo punk song with a touch of 1950s balladry overtones, and it’s as seething as it is sensual, smoldering with ill-fated romantic ideals. One choice passage reads: We hemorrhage apathy, As The World Turns/There’s not much else to do but sit and watch it burn/Goodbye, cruel world/Goodbye, cruel world/and this wasteland/Goodbye cruel world. This is a song for the ages, but we will probably be looking down at our phone checking out influencers, and the meticulously-curated lives on display when the earth explodes in a big ball of fire. But we can’t say we weren’t warned.

Previously, How Tragic (unsigned) has been championed by rock legend Rodney Bingenheimer who introduced the band on his radio show where he premiered the single “Deathwish.” The quartet has issued the 4-song EP, Past Lives—co-produced by Paige alongside producer, engineer, and mixer Matt Chiaravalle (Courtney Love, Debbie Harry, Warren Zevon)—and debuted as a headliner at the iconic rock venue the Mercury Lounge.

How Tragic social media


@1.800.howtragic Instagram



Seconds out video two comes from the awesome More Kicks whose album was released over the weekend and reviewed on RPM Online. watch the video then buy the record. It’s simple!

The long-awaited Ginger Wildheart & The Sinners debut album is finally here, 3 years after The Wildhearts main man formed the country-tinged project with guitarist Neil Ivison and bassist Nick Lyndon of Stone Mountain Sinners. Picking up drummer Shane Dixon along the way, the band retreated to Mwnci studios in the heart of West Wales with Dave Draper at the helm and recorded an album that finally sees the light of day, 2 years after it was mixed.

With a release on Little Steven’s Wicked Cool Records label, the home of RPM faves such as Jesse Malin, Ryan Hamilton and Prima Donna, we expect very good things from Ginger and his boys.

This self-titled, debut long player is a 10-track affair that takes a trip down a dusty, country road, taking in a choice cover or two along the way. Opening track and first single ‘Wasted Times’ is a perfect introduction to the good time, southern rock n’ roll that The Sinners deliver. There are catchy melodies aplenty, lush harmonies for miles and a killer chorus that refuses to leave your brain. It instantly sounds like an old time classic. You wanted the boys to start big? Well, they delivered!

It seems trading his Les Paul for a Telecaster and sharing lead vocals was exactly the therapy Ginger needed after the headfuck that The Wildhearts has been for him the past few years. There’s a sense of camaraderie here, and the immediate reaction I get from this album is how remarkably upbeat, positive and fun it is. I mean, 3 songs into this album there is a tune called ‘Footprints In The Sand’ that is so uplifting it gave me goosebumps by the first chorus. I presumed it was a cover, but it’s not. With Neil taking lead vocals over dampened chords, it sounds like a classic Springsteen track, or a John Cougar Mellencamp tune, but it’s not. With a rousing, building chorus over ringing chords, you will swear you know it already. It’s the sort of anthemic, Americana I adore, and I think you will too.

‘Work In Progress’ has more southern boogie than a Georgia Satellites album, but with that certain Ginger trademark song structure. And just when you think you have the song sussed, in comes some crazy-ass female vocals that take us into Black Oak Arkansas territory. But who is the mysterious Ruby Starr impersonator? We need to know.

With no press blurb or details I have no idea who writes what regarding the original tunes, but Wildheart and Ivison wear their influences on their sleeves and covers-wise they give us a couple of classic album tracks you may or may not be aware of. The band tackle the aforementioned Georgia Satellites ‘Six Years Gone’. The faithful reworking is perfectly executed and they make it their own. But with Neil taking lead vocals again, Status Quo’s ‘Dirty Water’ is turned into the euphoric, country rock classic you never knew you needed in your life.

Elsewhere, the beautiful, acoustic balladry of ‘Breakout’ is up there with some of the frontman’s finest reflective moments. The likes of ‘If You Find Yourself In London Town’ and ‘Geordie In Wonderland’ come to mind. Full of lush harmonies and a sense of longing and regret that could well bring a tear to your eye by the end.

They finish the album with a tongue-in-cheek comedy tune that nods its head to The Wurzels. There’s a ‘live in the studio’ feel that sees all the albums’ singers take a verse. With a great gang vocal sing-a-long, and a fade out to raucous clapping and cheering, it seems the perfect way for The Sinners to bow out.

With a good deal of country twang, a whole heap of glorious melody and an overall sense of fun, Ginger Wildheart & The Sinners have delivered a debut album that is a much-needed ray of sunshine in these strange and dark times. Guaranteed to leave a smile on your face and a sense of contentment within, this album is proof that music is the greatest mood changer out there.

With the follow-up album already recorded and the band touring in October, it seems the future of the UK Americana/roots music scene is firmly in their hands.

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Author: Ben Hughes


Leeds garage rock ‘n rollers Nosebleed are setting up for the release of their second album ‘Dance with the Devil’, the follow up to 2018’s ‘Scratching Circles on Dancefloor’. Due for release this coming November 11th via TNSrecords, the album has been a long time coming, held back by lockdowns and delays, but they guarantee that the wait has been worth it.

Having already released the first single from the album ‘Make Up Your Mind’  to much acclaim in January 2021, the band have returned with a second offering from the album; the title track ‘Dance with the Devil’, alongside a new video to go with it.

“Like a lot of the album, the single is about breakups,” explains guitarist and vocalist Eliott Verity. “Between recording the music and the lyrics my life fell apart a little and I ended up re-writing the words to a lot of the songs. This one’s about that post breakup feeling of being torn about everything and wanting to give up and go feral, making some bad decisions for a little bit. We still wanted people to be able to dance to it though, despite what it was written about.”

‘Dance With The Devil’ wastes no time in getting to the root of what Nosebleed are all about, charging in with a pounding drum kick before the spluttering guitars explode into life and Nosebleed begin their sermon, fusing 50’s rock n’roll and 60s garage with a modern indie crunch.

The band will be on tour to promote the album in November 2022, heading to the length and breadth of Britain alongside their pals Janus Stark amongst others.

Nosebleed are a garage rock, three-piece from Leeds, England. Playing frantic rock n roll inspired anthems the band have toured non-stop since 2014 hitting venues and festivals across the UK and Europe. Known for their suited and booted stage presence, their live show has made waves, being discovered as “the best live band in the UK” by Shout Louder, taking them from sweaty toilet venues to the stages of Kendal Calling, Boomtown Fair, Bestival, Camp Bestival, Beatherder, Rebellion and Manchester Punk Festival and is a real sight to behold.

Pre-order the ‘Dance With The Devil’ album HERE:

Catch Nosebleed live at the following dates:












Find Nosebleed online at:



If it were possible to go back in time and spend a few days doing something cool apart from watching The Damned at the Hope and Anchor, the Dolls hit up Manhatten. Stop Hanoi Rocks getting on that airplane to the US, I’d head back to old London Town in the early 90s when I used to frequent Soho when it had some character left. I’d head over to the Marquee club and catch some great bands before it all dissolved into dust.

An LP just landed on my doorstep that; if the world was a just and deserving place An LP record that should have been made and one that should have propelled a band from Birmingham into the limelight where they would have shone brightest. ‘Witness To The Crime’ cements the notion I’ve kept for many years that after Hanoi and the Lords had left town and The Dogs D’Amour had burnt their candle from both ends, Thunders was having his last hoorah with his oddballs. The single band left in the underground that coulda, shoulda, woulda was Gunfire Fucking Dance! The first time I saw them supporting at the Marquee I was mesmerised I’d found a band I knew I could love because they had the look and the presence to devastate and above all they had the tunes. They weren’t a Dolls cover band they weren’t hipsters going through the motions or London posers, Gunfire Dance were the real deal. Sure I heard large elements of The Lords and some Hanoi and Bounty Hunters and Thunders and his Heartbreakers, for sure. They were all in this melting pot from the Midlands but they had a danger a frontman that was more Jagger at Hyde Park than Axl on the strip and with the Lords now fucked off there was a hole that needed filling.

Fast forward a few decades and another band that fell by the wayside, they had it all but cest la vie they barely scratched the surface they were too cool and punk for Sounds, not metal for Kerrang! not hip enough for NME and Melody Maker it was a travesty that a band that had songs as good as were on their demo tape they sold at shows or the singles they had pressed but never made it to a full-blown LP. I remember the songs they’ve stayed with me from the shows and I played the cassette tape until it died. Fast forward a time when social media made the world a small place and you could find out the minute details of bands and people you never got to meet or find out what happened to those bands.

There was a CD released that turned out to be like Rockin horse shite ‘Archway Of Thorns’ and in recent years momentum was growing for the songs to be pressed on wax and become the vinyl hipsters they should’ve been. Post-pandemic and that time has arrived (hit the fanfare and drum roll) Ladies and Gentlemen Easy Action have done the decent thing and pulled together twleve of their finest tracks and finally a friggin album from Gunfire Dance.

It’s always been a plan to front-load an album with your best tunes to grab the listener and quite often the record fizzles out after the opening salvo. ‘Witness To The Crime’ begins with an opening hattrick of gargantuan proportions ‘Blue’ is a reckless beast from the vocal chant of ‘BLUE!’ that was like a sonic punch to the nose that would daze you as the thump of Birchy’s bass line is thunderous and when its joined by the runaway train that is his fellow rhythm section tub thumper Ozzie who rides the drums like trying to harness and tame the four horses of the apocalypse whilst Wards guitar scuffs and squeals like a demon being banished from the studio speakers it’s a truly magnificent opener by anyone’s standard. To follow it up with the magnificent ‘Bliss Street’ that oozes cool It’s got a punk rock beating heart but it’s Rock n Roll and the chorus if that’s what it is – is genius. Then, ‘Bird Doggin” is a howling, badass, sleazy run through the backwaters of Rock n Roll with its Steve Jonesesque run up and down the neck of both bass and guitar, it’s fuckin huge! And all these years later I must have played these songs hundreds if not a thousand times I’m still not bored of hearing them and being able to drop the needle on them makes me feel good, finally, Gunfire Dance get the sound and platform they deserve imortalised on wax. It’s never too late to pay tribute to greatness and I know I’m not alone as there are many people out there who witnessed the Crimes of Gunfire Dance but in truth, the only crime was that Gunfire Dance isn’t a household name in rock n Roll Circles and people don’t talk about them looking back on a time when the world needed genuine rock n roll pirates who had the chops. they were there and this record is the evidence.

When I said frontloading a record was a thing this is proof that it wouldn’t have happened to these cats as ‘Easy Come’ is a howling whirlwind of noise and sounds elevated on vinyl – maybe my mind is playing tricks with me but this sounds even more magnificent. The sleeve notes wrap the band up far better than I could even if I do like pouring superlatives on great records (in my opinion) but hell if I don’t who will? Fuck it, I’m not ashamed or embarrassed to say this is easily – head and shoulders the reissue of the year by a country mile it’s not strictly a new record but hell it sounds mighty fresh maybe Ant has cut a deal with old nick and some black magic has been sprinkled over the mix.

I’ve written this review after a few cold ones after a day of watching my football team win and looking for a distraction from the TV and gray Britain’s current cloud of Royal shenanigans so it comes as a perfect shot in the arm or should that be ears?

Side one closes out with the strut of ‘Pretty As Sin’ that indeed has all the wah scuffs I need on my records and some pretty mean floor tom thumping and I love the bridge as it soars along with the guitars that are being rinsed within an inch of its life.

Take a break have a cooldown and take a deep breath because side two literally kicks off with ‘Suit And Tie’ that has the Rat & Brian James treatment. I bet Brian couldn’t believe his luck stumbling across these boys who were firing tunes on all cylinders that had bits and pieces of his DNA running through them, especially the guitar breaks on ‘Suit And Tie’ and those Dolls and Stones “woo Hoos” are fabulous now as they were when I first heard them. Tell me you can sit still whilst ‘Make you Cry’ is grooving in the bands most Lords like number, it’s a heaving beast and I love the chorus with the gang vocals with Ant putting on his finest vocal performance on the record.

The band could slow things down as well if they wanted to it wasn’t always the end of days assault. ‘It Hurts’ is dark and gothic with a booming cathedral-like low end. As we head into the home straight it’s the magnificent ‘Burning Ambition’ declaring they were living on dreams and chasing after the sun. They should have burnt through the atmosphere and landed on the front pages of the shitty music press of the late 80s and early 90s for sure the breakdown is a mental beat and only gets better like a fine wine – dust it off and uncork it it’s vintage.

The most endearing memory I have is watching them tear it up in the marquee and hearing ‘Gimme Back My Heart’ and having the same satisfying warm feeling now as I did back them knowing that if they never break through I know I saw them and I loved them like they were playing Knebworth or Wembley nevermind the Marquee Charing Cross Road. they were special times and I was gutted when I heard of Ants passing and that selfishly I would never get to be in a room with a band who lit up my time in the big smoke like no other band whose performances and music gave me a buzz like I had seeing Hanoi rocks or the Lords or Johnny Thunder before them. it seems fitting that the record bows out with the magnificent brooding ‘Archway Of Thorns’. there was no room for ‘Darling’ Ann’ or their cover of The Kink’s ‘Till The End Of The Day’ oh I get it, they’ll be on the follow-up compilation of recently found live tracks and mop-up package wont it? A boy could dream.

‘Witness to The Crime’ brings the curtain down on a band I hold dear and hopefully gives them a chance to be heard by many new ears who never got to witness the crime and that crime is these boys never made TOTP nor private jets flying them to huge adoring crowds around the globe but hey ho life goes on, buy it play it loud and pass it on – Gunfire Dance – the best fuckin band you never saw or heard until now – thanks Easy Action for such a physical treat they needed this. My advice – just buy it!

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Author: Dom Daley