Sleazy does it kids, Tis the season to be jolly, excessive, loud, obnoxious, in your face, and rude. Well, I Love Rich has just poured themselves into my ear and latched on to the fun receptors of my brain with their take on sleazy rock n roll action. It’s a glamorous, cliched, well-trodden path but as we all appreciate every now and then. A band will come along who are entitled to be the kingpins of the cliched and well-trodden but only if they have the chops. I Love Rich has those chops. Hell, ‘Gods Gift To Women’ is cock sure and in your face as it stomps hard.
Hailing from Chicago these guys have song titles to grab your attention by the scruff and like a rabid dog they won’t let go. They offer a riff-heavy ‘Rock N Roll Sex Cult’ it’s like I’ve been forced into a scantily clad time machine full of DC Riffs with an unhealthy dose of 80s sleaze thrown into the mix for added effect whilst Kiss Klassics play at the pool party ‘Wake Up Let Me Rock you’ will have you reaching for the Ice to go with you bourbon. I Love Rich are a good enough reason for me to wonder why Toilet Boys aren’t back touring the world and dragging these lovely people with them oh and bring the Erotics for good measure.
Go get an earful of this and tease your hair and lets get the party started.
I really can’t think of a better way to kick-start my 2023 than with ‘Every Loser’, Iggy Pop’s 19th solo album, released via a partnership between Atlantic Records and Gold Tooth Records.
Four years after his last solo record, 2019’s largely spoken word and sombre affair ‘Free’. ‘Every Loser’ sees Mr Osterberg Jr teaming up with hotshot producer and multi-instrumentalist Andrew Watt. A man I last saw having an onstage meltdown with a soundman for not doing his job properly before slamming his guitar headstock first into the monitors, so whilst his production client list might range from Lana Del Ray via Justin Beiber to Ozzy Osbourne, I’ve witnessed the guy’s inner Iggy…and let’s not forget by also played guitar on Glenn Hughes’ best album in decades, the excellent ‘California Breed’, and that’s how I got witness his outburst.
Cranking the Wharfdales up (Jesus I really am starting to sound like Tommy Saxondale) in anticipation of a return to Iggy’s more rockier moments, opener and lead single ‘Frenzy’ certainly doesn’t disappoint. Built around the rock-solid rhythmic backbone of Duff McKagan and Chad Smith. Iggy is back to his potty-mouth best spitting out the profanities at will whilst Watt places the guitar somewhere between Asheton and Jones. Incendiary stuff!
It’s the second teaser from ‘Every Loser’ that got me excited most first of hearing it though, the goth pop of ‘Strung Out Johnny’ sounding like the best 69 Eyes (stop laughing at the back) song they never wrote. Seriously this is Iggy at his infectious best and save for a few f-bombs this could have been a huge radio hit back in the day.
The Igg-ster is no heritage act though and ‘New Atlantis’ is the near perfect amalgamation of his latter-day love of the spoken word and the desert rock leanings he took onboard during ‘Post Pop Depression’, and just like the tracks that precede it the hook is a true killer Iggy. Albeit these days, granted it’s in a slightly lower register.
‘Modern Day Rip-Off’ is the first time I get a sense of the Stooges raising their middle finger to proceedings as that rigid digit is used to play the one note piano riff that underpins yet another set of vitriolic Iggy lyrics, Smith, McKagan and Watt meanwhile sound like they are having the time of their lives. I bet Duff wishes his day job band still sounds this alive….and their singer is nowhere near 75 years of age, and speaking of which, even Iggy needs a little breather from time to time and here it comes in the shape of side 1 closer ‘Morning Show’.
Dropping the needle on side two and it’s the kooky ‘The News For Andy’ that gets things off to a great start. Iggy once again talking his way through an almost Bowie–esque curveball that is over all too quickly.
‘Neo Punk’ is the track a lot of journalists have been picking out as the possible standout on ‘Every Loser’, and yes it does indeed rock in seismic proportions, but for all its bluster it’s the track that follows it, ‘All The Way Down’ that really impresses me most. Again, it’s got that Stooges one finger piano in parts but just like ‘Strung Out Johnny’ on side one this beauty has me reaching for the volume control to turn things up even louder, and that’s got to be the first time in around three decades I’ve said that about a song featuring Stone Gossard on guitar (look, before I get shot for this, it’s an in-joke okay).
Fellow grunge superstar Eric Avery plucks out the bass intro to ‘Comments’ and that mid 80s post punk influence his old band used to play about with to maximum effect is here in abundance. The keyboard touches from multi-instrumentalist and Gossard band mate Josh Klinghoffer are an absolute delight and working his magic on the hi-hats there’s the sadly departed Taylor Hawkins. He must have been so proud to have played on this album, and in hindsight, what a way to bow out.
‘My Animous Interlude’ and ‘The Regency’ close out ‘Every Loser’, and it’s a song pairing where it’s impossible to separate them. The former providing a glimpse of Banshees like spoken word charm before the latter has Iggy spitting out “Fuck The Regency (Up)” over a hook that somehow manages to give Siouxsie and Co a late 80s Guns N’ Roses makeover before spiralling off into 4AD territory for the album’s final grooves.
Having pretty much everything Iggy Pop has ever produced within my music collection and enjoying most, if not all of it, (yup even the French stuff) this album really is right up there with the very best of Iggy’s illustrious back catalogue, and I just can’t wait to hear these songs live. So, roll on Dog Day Afternoon, every loser has to be there.
THE DWARVES have been stabbed, bludgeoned, swarmed, arrested, shut down, sabotaged and even fellated onstage and much of it is available on video, like the compilations FEFU, Fuck You Up & Get Live and Salt Lake City.
Those south coast Glam slammin punk rockers The DeRellas release a brand new video for the excellent ‘Sonic Detonator’ lifted from their excellent long player ‘Somethings Gotta Give‘ Buy the album Here
South Wales is alive with the sound of music and thunder or is it musical thunder? Mistakes Were Made are a trio of rockers fueled by the riff-a-rama of classic DC mixed with more Grungy elements and a healthy stoner grind happening. ‘Dice’ has the feel of Powerage mixed with classic Kauss and a twist of Helmet just for added sonic welly.
Mistakes Were Made aren’t fresh-faced youngsters, It’s fair to say that each member has been round the block a couple of times, with both Lino and Lee forming part of late 90s/early 00s outfit Ruby Cruiser. They were Signed to One Little Indian and with a Chris (Foo Fighters) Sheldon- produced debut album under their belt, they were on their way to bigger things – before the gods of rock’n’roll fate hoofed them in the stones and everything fell apart. Lee was also a member of Newcastle-based noise-mongers Whatever and toured with heavyweights such as The Wildhearts and Bruce Dickinson in the mid-90s. Huw’s been at it a fair old while too, providing low end for a selection of bands in different styles and genres – though he’s happiest when he gets to deploy his collection of distortion pedals in service of The Riff.
‘No Way Back’ is a dark heaving thump with the Heaviness of Helmet but a melodic delivery on the vocals in a dark twisting way that covers genres but has a cohesive sound that is fluid and engaging. These are the first recordings from the band and to sample their wears head over to their soundcloud and get on board as they add more music when it’s done. The band’s aim is to have a good time rocking out and playing music that makes them happy and that’s always a great starting point and this pair of tracks show exactly what they can deliver then bring it on let’s have more and some live shows. The hills are definitely alive with the sound of rumbling thunder Rock on Mistakes Were Made you might be onto something.
Fact 4 – THE DWARVES have recorded for visionary independent labels including Sympathy For The Record Industry, Epitaph, Fat Wreck Chords, Sub Pop, Bomp!, Amphetamine Reptile, Man’s Ruin, Recess, Theologian, Glitterhouse, Burning Heart, White Jazz, High Voltage, No Balls, Zodiac Killer, MVD, Midnight, Reptilian, Riotstyle, Burger and Greedy Worldwide. Some of them even paid royalties.
Shake off those festive cobwebs with some rollicking hard rock n roll courtesy of Small Town Saviours. This no holds-barred debut is a loud guitars to the max slice of hard rock. With no Wildhearts, those gaps are being filled with hard rockin’ mofos with tunes and hooks trying to get their barbs into our ears and Small Town Saviours have entered the ring and are coming out swinging.
Its upbeat for sure, Big riffs galore and hooks left right and centre. Its got that big choruses mixed with bombastic riffs left right and centre. They call out influences from familiar places with hooks like the Wildies, Choruses like Kiss attitude like Guns n Roses and some Ramones for good measure and to take the edge into a punkier direction. Songs about drinking (‘The Drinking Song’) Geography (‘Wild West'(Berkshire) ), with its countrified wheeze. there are a few familiar faces in Small town Saviours in Lance and Carl who prevously have graced the pages of RPM this time they come out swinging (‘London Aint Calling’) with its Pistols edge it’ll be a swinging night out whereas there is a DC edge to the riff-a-rama of ‘Translation Invariant’ as the guitars weave around the rhythm with its transatlantic groove making for a mixed record with lots to please many genre hoppers but keeping it all tightly joined up together so it’s not at all patchy and flows nicely.
If you’re looking for a high point then I’d suggest ‘Drama Queens’ with its attitude and rampaging rhythm it’ll punch you squarely on the beak if you’re not dancing like prime time Axl. To follow it up with ‘Boy Who Cried Wolf’ is impressive.
2023 is shaping up nicely so look out for this fourpiece raging through your town with an impressive debut offering.
Fact 3 – THE DWARVES began in the 1980’s as an Illinois punk garage band, covering everything from the Seeds and Moving Sidewalks to Gang of Four and Devo. They still have skinny ties and tight pants to prove it.
The LP’s Thank Heaven For Little Girls (1991) and Sugarfix (1993) solidified the basic lineup of vocalist Blag Jesus, bassist Sgt. Saltpeter and drummer Vadge Moore. Following the death of guitarist HeWhoCanNotBeNamed, the Dwarves made singles for Recess and Man’s Ruin, then signed to Epitaph and proceeded to do for pop-punk what they had done for grunge and garage, making The Dwarves Are Young & Good Looking (1997) and The Dwarves Come Clean (2000) definitive LPs of the skateboard punk era.
By the turn of the century, the Dwarves had toured Europe, Canada and the US extensively as well as Japan and Australia. Appearances on television and radio and dozens of song placements in film and TV solidified their legendary status. In 2005, The Dwarves Must Die (Sympathy) was hailed as their most eclectic album yet, with producer Eric Valentine and a cast of underground notables featured in cameos that had the dying recording industry buzzing. 2011 saw the release of The Dwarves Are Born Again (MVD), returning to the punk ferocity of yesteryear, but continuing the genre-defying experiments their fans now demanded.
2014 brought The Dwarves Invented Rock & Roll on DIY punk label Recess and the Gentleman Blag 7” on Fat Wreck Chords. 2015 produced Radio Free Dwarves, featuring live European radio performances that capture the Dwarves at their fire-breathing, old school best.
A slew of reissues and unreleased gems produced by Blag Dahlia followed on the Greedy Media imprint, including the glam punk Penetration Moon, retro girl pop Candy Now and even the bluegrass Earl Lee Grace LP’s reissued by Burger. The Dwarves early garage, noise punk and unreleased sides were repackaged as the double LPs Lick It and Free Cocaine and the masters of mayhem returned in 2018 with The Dwarves Take Back the Night LP (Burger) and Julio 7,” featuring a supergroup of past and future Dwarves, including HeWhoCanNotBeNamed, The Fresh Prince of Darkness, Rex Everything, Nick Oliveri, Hunter Down, Andy Now, and Black Josh Freese.
Once again, the Dwarves delivered the goods on wax skewering garage, punk, hardcore, electronica, doo-wop and noise music.
In 2022 Blag authored his third novel Highland Falls (Rare Bird) and released his first full length solo record, Introducing Ralph Champagne, showcasing his retro crooner alter ego.
As 2022 draws to a close, an avalanche of reissues brings back the entire Dwarves catalog on wax through Greedy/MVD and a double LP’s worth of brand new Dwarves material is slated for release in autumn 2023!
The relentless middle finger drive, catchy songwriting and deft production that set the Dwarves apart have never sounded better and with way over a thousand shows to their credit, there’s really only one punk band left that matters! Catch the Dwarves soon at a theater, nightclub or crack house near you, and check out our groundbreaking LPs online or at your local record store.
Fact 2. THE DWARVES first tour in 1988 covered over 6,000 miles and highlights were featured in the Village Voice. The tour consisted of 3 cities, 4 shows and $165 dollars cash. The band slept in a cargo van and booked gigs on stolen telephone cards.
Not only is Blag a supreme songwriter he also writes books made out of paper like ‘Highland Falls’ available Here
In-depth box set, delving right back to the band’s pub rock roots right up until the present.
A celebration of Girlschool’s 40 plus years of rocking the globe, kicking off with their independently released 45 ‘Take It All Away’ b/w ‘It Could Be Better’.
Formed at school in the mid-70s, Kim McAuliffe and bassist Enid Williams joined forces as Painted Lady. It wasn’t until 78 that Girlschool formed. Guitarist Kelly Johnson and drummer Denise Dufort in April of ’78.
With their Debut album ‘Demolition’ breaking into the UK Top 30 a couple of years later, it was their follow-up ‘Hit And Run’ (1981) where I got interested. As a teenager, I couldn’t get enough of their EP ‘Valentines Day Massacre’ recorded with label mates Motörhead as HeadGirl. 1982’s ‘Wildlife’ EP would be Enid’s last outing with Girlschool for a while, as she was replaced on bass by Gil Weston for ‘Screaming Blue Murder’ (1982). Listening back to the two albums and EP many years later they were really onto something with their punky attitude mixed with the hard-rocking delivery they were playing by their own rules in a very difficult market with only The Runaways on the other side of the pond offering all-female line ups a fighting chance and they certainly had the chops to stand shoulder to shoulder with their peers.
There is a lot of music to get through and with a steady swirl of players through the ever-revolving door saw a dip in the quality of the music with the real high points being those first two albums by what has to be the classic lineup. There is however a whole load of interest in Disc 4 in this set featuring many rare B-Sides and non-album songs, as well as demos dating way back in 1978 right up to 2002, as well as Disc 5, being a really rare live outing from pre-Girlschool Painted Lady that is a must own for any fans of the band and hearing what they sounded like pre ‘Demolition’. To round off this excellent deep dive you also get sleeve notes from NWOBHM expert John Tucker, as well as plenty of rare photos from the band’s archive.
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