Band pic courtesy of Mark Weiss

4-CD And 4-LP Sets Feature Original Album Remastered

Plus a New Mix of the Full Album

Available 2nd June 2023 Pre order Here

The Newly Remastered Version of “The Mob Rules (Live)” is Available 

Black Sabbath’s first official live album, Live Evil, celebrates its 40th anniversary this year with a new Super Deluxe Edition that introduces newly remixed and remastered versions of the acclaimed double album.

LIVE EVIL (40th ANNIVERSARY SUPER DELUXE EDITION) will be released on 2nd June as a 4-CD set, a 4-LP set and digitally. The collections feature two versions of the legendary album: a newly remastered version by Andy Pearce along with a new mix created from the original analog multi-tracks by longtime band associate Wyn Davis. The physical versions also come with illustrated hardback books that include new liner notes and replicas of the concert book and poster from the Mob Rules tour. The newly remastered version of “The Mob Rules” is available digitally, today. Listen now.

A new era of Black Sabbath began in 1979 when singer Ronnie James Dio joined the band, along with founding members Tony Iommi, Geezer Butler, and Bill Ward, to launch a new incarnation of the iconic heavy metal band.

The newly minted quartet debuted in 1980 with Heaven and Hell, a platinum-certified smash that won over fans of the original lineup. Halfway through the album’s tour, Ward left and was replaced by Vinny Appice. When the tour ended in 1981, the group decamped to Los Angeles and quickly recorded Sabbath’s 10th studio album, Mob Rules. Released in November 1981, the album would be certified gold. While touring for the album, the band announced plans to record several shows for what would become its first official concert album.

In the extensive liner notes that accompany LIVE EVIL (40th ANNIVERSARY SUPER DELUXE EDITION), Hugh Gilmour writes: “The ten-month Mob Rules tour was certainly a very successful one, resurrecting their reputation not only as a band that could fill major venues, but one that could sell plenty of vinyl and cassettes too. Black Sabbath Mk 2 had given their record label two best-selling LPs and were about to present a third.”

When Live Evil arrived in 1983, the double album was a commercial and critical triumph, reaching #13 in the U.K. and #37 on the Billboard Top 200. Reviews were overwhelmingly positive, including one from influential heavy metal magazine Kerrang! that hailed it as “one of the greatest live albums of all time.”

The recordings capture the ferocious chemistry and dark magic that defined this incarnation of Black Sabbath with thrilling live versions of recent tracks like “Neon Knights,” “The Sign Of The Southern Cross,” “Voodoo,” and “Children Of The Sea.” The album also honored the band’s original lineup with Dio-led versions of Sabbath classics like “Paranoid,” “War Pigs,” “Iron Man,” and “N.I.B.”

Alas, the lineup split before the album was released. Iommi and Butler continued as Black Sabbath, while Dio and Appice left to record Dio’s solo debut, Holy Diver. Still, it wasn’t the final chapter for the band.

The story continued over a decade later when Dio and Appice rejoined Iommi and Butler to record 1992’s Dehumanizer. They went their separate ways yet again, only to reconvene in 2006 – under the moniker Heaven and Hell – to record three new songs. After a hugely successful world tour, the quartet released what would be its final studio album, 2009’s The Devil You Know, which entered Billboard’s Top 200 chart at #8. Shortly after the album’s debut, Dio was diagnosed with cancer, a disease that led to his passing in 2010.


CD Track Listing

1.   “E5150”

2.   “Neon Knights”

3.   “N.I.B.”

4.   “Children of the Sea”

5.   “Voodoo”

6.   “Black Sabbath”

7.   “War Pigs”

8.   “Iron Man”

1.   “The Mob Rules”

2.   “Heaven and Hell”

3.   “The Sign of the Southern Cross”

4.   “Heaven and Hell” (Reprise)

5.   “Paranoid”

6.   “Children of the Grave”

7.   “Fluff”

40th Anniversary Remaster (CDs 1-2)

40th Anniversary New Mix (CDs 3-4)


LP Track Listing

Side One

1.      “E5150”

2.      “Neon Knights”

3.      “N.I.B.”

4.      “Children of the Sea”

5.      “Voodoo”

Side Two

1.      “Black Sabbath”

2.      “War Pigs”

3.      “Iron Man”

Side Three

1.      “The Mob Rules”

2.      “Heaven and Hell”

Side Four

1.      “The Sign of the Southern Cross”

2.      “Heaven and Hell” (Reprise)

3.      “Paranoid”

4.      “Children of the Grave”

5.      “Fluff”

40th Anniversary Remaster (LPs 1-2)

40th Anniversary New Mix (LPs 3-4)

Somethigns happenign in the underground and all across south Wales there seems to be new exciting bands kicking up a shitstorm. From the East to the West its happening and the good people of South Wales need to get on board and maybe it will catch fire. Last weekend I went to the wonderful venue that is the Elyseum on the salubrious High Street to catch the impressive Baby Schillaci who have impressed me with their first two singles. So, it seemed only fair that I should go catch them live and see if this fire needs fanning and to be fair it didn’t dissapoint.

We arrived to see a healthy crowd in early for the performance of noisy alt punks Hong Kong Handover who seemed to be enjoying their time making a noise and thrashing about. Maybe a sweaty dark pub would be more suited and not having heard anything by them before it kinda washed over me but I did like their energy. As for HWDU i’ve seen them before in a squalid local pub where they were harvesting the wuhan bats for any future pandemic better known to locals as The Duke in nearby Neath. The first thing I noticed was singer/guitar player was sporting a Dead Moon shirt which isn’t somethign I was expecting on this Saturday night in Swansea and the band have some strong songs in the mix of their grungy post punk noise and along with their enthusiasm this evening eas shaping up rather nicely.

By the time the headliners took to the floor, there was a decent expectant audience in attendance as the band ripped open their set with some strong material in their brief but to-the-point set. Having two guitars and two vocalists is a good move for their post-punk offerings and a set that blended well through the darker more alternative style songs in the set (mixing up some of the darker britpop with the punk grunge of ‘Bleach’ through the pre ‘Bla Bla Bla’ era that Iggy had going on.

I was impressed with the quality of the songs and the style, but the ones that worked best were the all-out noise they brought to the room and it was with great energy. I want to hear more and see them play again an impressive performance from these boys on first impressions and no doubt they could be onto something with songs like ‘Radical’ and ‘Dead Wrestler’. As the songs will be more familiar and with each performance I’ve no doubt they will get better and better. They did save the best til last and finished off their short but sweet set with the new single ‘So Bad’, it was perfect as the pit was whipped up and we were left wanting more. Excellent night out and it was Free entry, bonkers!

Remember the name and if they hit your town get out there and get involved ‘Baby Schillaci’, Yeah! total Schillaci. Impressive first impressions.


Author: Dom Daley

A mere 23 years after its release, the debut album by Rachel Stamp gets a souped-up reissue. Given their “should have been huge” status, and the current, prolific solo career of main man David Ryder Prangley, it’s about time. Released on CD and pink vinyl, there’s 17 tracks to please both ardent fans and newcomers. I’m somewhere in the middle, owning all but this album, so it’s a treat to hear the songs that don’t feature on the ‘Now I’m Nailed To Your Bedroom Wall…’ compilation.

Such as ‘Brand New Toy’, which has all the requisite sleaze you’d expect, as well as hiding an Alice Cooper album title in it’s lyrics. Both ‘Ladies And Gents’ and ‘Spank’ tip a slight nod of the head towards Mr Stuart Goddard, while ‘Pink Skab’ is a more in-yer-face tribute. I remember the live review of him joining the band onstage for ‘Beat My Guest’ and kicking myself for not being there. So, it’s no wonder that David and Will have both been part of the Ant family, and rightly so.

However, Rachel Stamp were impossible to categorise, which I imagine gave the record labels a headache, as they do like an easy time. After being dropped by WEA in 1997, it took the band a while to find their footing. Originally recorded in two weeks, this sounds surprisingly fresh, partly from the mix and partly because they’re great songs. Because they never fitted into a neat box, they haven’t aged.

In spite of the ‘glam’ tag, there are some monster riffs here, from ‘Girl, You’re Just A Slave To Your Man’ to the downright filthy ‘Dirty Bone’, which dares to rhyme ‘sinner’ with ‘Pinner’. Thankfully, they have no shame. But there’s also the acoustic, Hispanic-tinged ‘Carmelita’ and ‘Take A Hold Of Yourself’ could almost be the Manics at their most appealing. Add to that the classics ‘Monsters Of The New Wave’, ‘Black Tambourine’ and ‘My Sweet Rose’, plus two savage live versions of ‘I Got The Worm’ and ‘Please Don’t Touch’, and what you have is a fine example of their unique sound.

Living in France meant that it was always unlikely that I would make the London gig, but at least this album is available now for all of us strange children.

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Author: Martin Chamarette

Metallica have had a busy time recently; they have picked up a legion of younger Metallifans due to the TV show Stranger Things using the epic Master Of Puppets in a pivotal scene. This thrusted the metal titans into the consciousness of the masses and threw the spotlight onto what we longtime fans have known since the Eighties, that Metallica are the undisputed kings of heavy metal. They have also been busy recording a new opus that finally lands in our sweaty hands today.

A new Metallica album isn’t just a release, it’s an event. The juggernaut that is the Metallica marketing machine does a fantastic job of drip feeding just enough new material in advance of the album release to keep us rabid Metallifans happy until release day. The four tracks that we are now already more than familiar with; Lux Eterna, Screaming Suicide, If Darkness Had a Son, and the title track 72 Seasons are now ingrained into our brains.

The album’s title is explained by James Hetfield as; ‘The first 18 years of our lives that form our true or false selves. The concept that we were told ‘who we are’ by our parents. A possible pigeonholing around what kind of personality we are’. The album consists of twelve tracks and clocks in at 1 hr 17 min. It isn’t an easy listen by any means.  Hetfield’s demons have been well documented with his recent addiction relapse and divorce from his long-time wife feeding into the lyrical content of the album. Musically it’s everything you could possibly want from a Metallica album in 2023. Hetfield sounds amazing, he seems to get better with age. He spits out the lyrics with ferocity, and you know he means every word.

The whole band are pushing themselves here, Kirk Hammett brings back some Kill ‘Em All era soloing which put a smile on this scribe’s face. Lars Ulrich always has his critics, but he does a fine job here grooving, stabbing, and accenting Hetfield’s huge riffs as only he knows how. Forever the new boy, Robert Trujillo (he’s been in Metallica for twenty years) plays a blinder here. His solid groove holding everything together with Ulrich’s kick drum is highlighted beautifully on Sleepwalk My Life Away. You Must Burn chugs along nicely with another monstrous riff. Crown of Barbed Wire has a Sabbath fused riff that has you nodding along from the start. Another highlight is Chasing Light, Hammett using his trademark Wah – Wah to colour the intro before the band kicks in with a pummeling riff. Hetfield really has stretched himself vocally on this album, he sounds fantastic. The album closes with the epic eleven-minute Inamorata.

2023 Metallica is as relevant and important as ever. Thank you for continuing to inspire us, your ever-growing legion of Metallifans.

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Author: Kenny Kendrick

Canadian sci-fi metal innovators VOIVOD are celebrating 40 eventful years of existence in 2023 and are pleased to announce a special Anniversary studio album entitled Morgöth Tales, to be released on July 21st, 2023 via Century Media Records.

Once more recorded and mixed by Francis Perron at RadicArt Studio, mastered by Maor Appelbaum and produced by VOIVOD, Morgöth Tales includes fresh studio (re-)recordings by the band’s current line-up of 9 especially selected, not-so-obvious picks from the band’s hyper-classy and extremely diverse back catalogue (between 1984 and 2003) as well as a brand-new song in the album’s title-track, “Morgöth Tales”.

VOIVOD drummer Michel “Away” Langevin commented about Morgöth Tales as follows: “’Morgöth Tales’ covers 40 years of space exploration. It was really exciting for us to revisit a more obscure part of the Voïvod catalogue, from thrash-punk to prog-metal to…? The title track is a new song, which we started writing in the tour bus and hotels during the Opeth European tour in November/December 2022. It has the vibe of the experimental music we are doing nowadays, with a new twist I think. We also had the great thrill of getting E-Force and Jasonic involved on this album. I hope you’ll dig it, Chewy, Rocky, Snake and I certainly had a blast recording it. All aboard and ready for take off!“

The Ltd. CD Jewelcase in O-Card and Digital Album formats will also come with a cover version of the Public Image Ltd. track “Home” as bonus.
The LP format will come on 180g vinyl and with a 4page LP-Booklet in the following variants:

  • Black LP – Unlimited
  • White LP – Ltd. 800x copies (Canada &
  • Transparent Green LP – Ltd. 300x copies (
  • Red LP – Ltd. 300x copies (VOIVOD outlets)

>>> Attention: The pre-order for Morgöth Tales in its various formats will begin on May 19th, 2023.

VOIVOD – Europe & UK Tour:
Apr. 16, 2023 – Eindhoven (The Netherlands) – Prognosis Festival
Apr. 18, 2023 – Bristol (UK) – The Fleece + Cryptic Shift
Apr. 19, 2023 – Glasgow (UK) – Slay + Cryptic Shift
Apr. 20, 2023 – Manchester (UK) – Rebellion + Cryptic Shift
Apr. 21, 2023 – Southampton (UK) – The 1865 + Cryptic Shift
Apr. 22, 2023 – London (UK) – Prognosis Festival
VOIVOD – USA Tour w/ Imperial Triumphant:
May 9, 2023 – Asheville, NC – Orange Peel * no Imperial Triumphant
May 10, 2023 – Virginia Beach, VA – Elevation 27 * no Imperial Triumphant
May 11, 2023 – Philadelphia, PA – Underground Arts
May 12, 2023 – New York, NY – The Bowery
May 13, 2023 – Baltimore, MD – Soundstage
May 14, 2023 – Charlotte, NC – The Underground
May 16, 2023 – Ft. Lauderdale, FL – Revolution Live
May 17, 2023 – Tampa, FL – Floridian
May 18, 2023 – Atlanta, GA – Center Stage
May 19, 2023 – New Orleans, LA – House of Blues
May 20, 2023 – Houston, TX – White Oak Music Hall
May 21, 2023 – Austin, TX – Come and Take It
May 23, 2023 – Pensacola, FL – The Vinyl Music Hall * no Imperial Triumphant

VOIVOD – Europe Tour:
May 26, 2023 – Wiesbaden (Germany) – Schlachthof w/ Testament, Exodus
May 27, 2023 – Ulm (Germany) – Roxy
May 28, 2023 – Munich (Germany) – Backstage w/ Testament, Exodus
May 30, 2023 – Lyon (France) – Transbordeur w/ Testament, Exodus
May 31, 2023 – Pratteln (Switzerland) – Z7 w/ Testament, Exodus
June 1, 2023 – Trezzo sull’Adda / Milano (Italy) – Live Club w/ Testament, Exodus
June 2, 2023 – Ljubljana (Slovenia) – Kino Siska w/ Testament, Exodus
June 3, 2023 – Stuttgart (Germany) – Im Wizemann w/ Testament, Exodus
June 5, 2023 – Berlin (Germany) – Columbia Theater w/ Testament, Exodus
June 7, 2023 – Budapest (Hungary) – Durer Kert
June 8, 2023 – Salzburg (Austria) – Rockouse Bar
June 9, 2023 – Prague (Czech Republic) – Futurum
June 10, 2023 – Gdansk (Poland) – Mystic Festival
June 13, 2023 – Hamburg (Germany) – Markthalle w/ Testament, Exodus
June 14, 2023 – Amersfoort (The Netherlands) – Flour
June 15, 2023 – Wasquehal / Lille (France) – The Black Lab
June 17, 2023 – Clisson (France) – Hellfest
June 18, 2023 – Dessel (Belgium) – Graspop Metal Meeting
June 22-24, 2023 – Oslo (Norway) – Tons of Rock Festival
Aug. 3-5, 2023 – Wacken (Germany) – Wacken Open Air
Aug. 11-12, 2023 – Helsinki (Finland) – Helsinki Metal Festival
And more international dates to be announced soon…

Morgöth Tales succeeds VOIVOD’s 15th (!) much acclaimed and Juno Awards winning studio album “Synchro Anarchy”, which entered sales charts upon release in early 2022 as follows: Germany # 7 (!), Switzerland # 64, Austria # 67, The Netherlands # 88, Belgium # 129, UK (Rock & Metal) # 7, Canada (Hard Music) # 2, USA Current Hard Music # 8, USA Top New Artist # 11, USA Heatseekers # 56 and USA Current Album # 67. VOIVOD also released the special “Ultraman – EP” in late 2022, which contains a highly original tribute to the “Ultraman” TV series theme.

Check out VOIVOD’s “Synchro Anarchy” album via the previously released videos here:
“Planet Eaters”:
“Synchro Anarchy”:
“Sleeves Off”:
“Quest For Nothing”:

You can still order “Synchro Anarchy” here:
The “Ultraman – EP” is also still available here:

And stay connected for further details on “Morgöth Tales” and more VOIVOD news coming soon…

VOIVOD line-up:
Dominic “Rocky” Laroche – Bass
Michel “Away” Langevin – Drums
Denis “Snake” Bélanger – Vocals
Daniel “Chewy” Mongrain – Guitar

VOIVOD online:


Its fair to say that the LA Guns have struck a rich seam of form and are knocking out cock rock Diamonds left right and centre from ‘Checkered Past’ through ‘The Devil You Know’ and the last offering ‘The Missing Peace’. The main players of Guns and Lewis seemingly on the same page and the music is all the better for that. However having the likes of Johnny Martin in the engine room laying down the rhythm is a big part of this sound.

With Production handled by Tracii Guns, ‘Black Diamonds’ is indeed a tour-de-force of rock ‘n roll and right from the off the groove heavy ‘You Betray’ offers up a swagger and cool lick courtecy of Guns dirty guitar but its Lewis who steals the show with a huge display of vocal talent soaring over the last three albums with a spine tingling performance.

Written and recorded over the course of 2022, ‘Black Diamonds’ offers eleven songs of LA Guns gold. Sure there are loads of impressive licks that fall from Guns fretboard but he can’t carry a whole album with riffs he needs the engine room being stoked by a rhythm section of exceptional quality who have the groove none better displayed than on ‘Wrong About You’.

You also have a band that can slow it down and display a softer, gentler, and warmer like they do perfectly on ‘Diamonds’. A song that ebbs and flows like all good power balads should, the band have done throughout their career to be fair.

If you’re in the mood for some 70s-inspired Rock then look no further than ‘Babylon’ dipping its toe in the Bowie-inspired hard rock but its got that sleazy swagger that is pure LA Guns and the world is a better place for it. ‘Shame’ is a laid-back honkin’ song Aerosmith used to do so why wouldn’t the Guns fill that void? Some nice harmonica and again Lewis works those pipes out to great effect.

I remember when the band hit the ground running back in the late 80s offering something different and not afraid to mix their hard rock roots with their punk rock roots and the no-brainer of 70s Glam dropping their glittery bombs all over their catalogue. This record has elements of all of the above running throughout it, ‘Shattered Glass’ is a cool example of a very good song not relying on style over substance, the chorus has a good gang vocal punching in unison with Lewis’ lead vocal and then a dirty solo to tidy things up, on what is a great song that gets better the more you play it (the louder it gets also helps).

‘Gonna Lose’ heads back to the porch for some acoustic navel-gazing but the song doesn’t hang around wallowing because they turn it up a notch for a dirty verse before settling back down a really good song that showcases exactly what the band does best big dirty riffs and tender moments where the two main players showcase their unique talents that work so well together.

The album isn’t front-loaded with the best songs if anything the latter half is where the gold is or should that be the diamonds? ‘Got It Wrong’ is exceptional, a cool groove with a banging tempo and Lewis on top form drawing you in to hear exactly what he’s got to say. Punky, raw yet uptempo and absolutely rockin.

The band’s creative energy is on disp[lay for the world to see and the quality has been continuing unabated over the course of, now, four studio albums.

“Black Diamonds” shows no signs of L.A. Guns hanging up their guitars and on this form they should never contemplate it either. Still kickin’ it unlike so many of their peers this band is up for the fight and they’re coming out swinging. Songs like ‘Lowlife’ will testify that and if you’ve had enough throwing yourself around then sit back and pour yourself a large glass and get into the cool swaggering ‘Crying’ as the band gets its collective hips shaking on one that Bolan would have been proud to have penned.

It only leaves ‘Like A Drug’ to finish this album off in style L.A. Guns style. when you know what you do best and write songs to suite yourself in that style then you are on to a winner and this album might just top the last few over time. Join the gang and get involved. L.A Guns are in da house and they’re kickin ass big time. Buy It!

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Ah, the good old New Wave of British Heavy Metal (NWOBHM). It conjures up such names as Saxon, Motorhead, Iron Maiden, Def Leppard (Yes, them as well), Angel Witch, Diamond Head, Samson, Tygers of Pan Tang, Demon etc. How many of you remember Trespass though? I vaguely remember them being name checked by Lars Ulrich of Metallica a few times (love him or hate him, Lars has helped a lot of those bands out over the years).

Trespass were formed back in 1979 in Sudbury, Suffolk by Mark Sutcliffe (guitar, vocals) and his brother Paul on drums. They only released a few singles and an EP which were critically acclaimed at the time and after a live session on the Friday Rock Show with Tommy Vance the band were included on a BBC compilation Metal Explosion, and they had two tracks featured on the second volume of the Metal For Muthas compilation series.

The band split and reformed in the 90s and finally released a debut album Head. It wasn’t until 2015 that a second album was released and Footprints In The Rock marked a turning point for the band. Their traditional metal sound arching back to the twin lead guitar antics of Iron Maiden, Judas Priest and Thin Lizzy ensured that Trespass found new (and old) fans who were ready to embrace the new revitalised line up.

Jump forward to 2023 and Trespass are ready to let the world hear their latest long player Wolf At The Door. The album features eleven brand new tracks and production was overseen by Nigel Palmer (Raging Speedhorn). The album deals with a plethora of lyrical themes including environmental issues and world affairs and the production is crisp and clear.

Album opener Blackthorn (no its not about cider) is extremely catchy with some quality guitar playing from Mark Sutcliffe and Joe Fawcett. Daggers Drawn is another ear worm with more of that warm sounding twin lead guitar work. Force Of Nature has a Rush like intro that rolls into a riff which has more than a passing resemblance to Rainbow’s Stargazer. Other Worlds has a more melodic feel in the vein of later Maiden. Ghost Pilot is a straight-ahead rocker with a nod along riff and more fantastic playing from the entire band, Sutcliffe has a more than capable voice and sings well here. Back To The Woods has more of a Wishbone Ash vibe to it with a dreamlike quality that really holds the listeners attention. Crooked Cross is another head banger with some tasteful drumming from Jason Roberts.

The album concludes in style with the title track that has a touch of Kings X about it. Trespass have done themselves proud here, this really is a quality slab of traditional metal that will hopefully open more doors for them. The album artwork by Mark Wilkinson (Marillion, Judas Priest, Iron Maiden) is exceptional too.

Wolf At The Door’ will be released on LP (black vinyl, limited to 500), CD and digital formats via From The Vaults on May 26th, 2023.

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Author: Kenny Kendrick

Jim Jones AllStars have a new single ‘Gimme The Grease’. It is out now on Ako-Lite Records and is available on all streaming platforms and Bandcamp.

Additionally, the single is also available for pre-order on 7″ vinyl from these fine retailers:

Rough Trade…/jim-jones…/gimme-the-grease

Norman Records…/197111-jim-jones-all…




If thats not enough Rock n Roll for you on a Tuesday try this bad boy – French Garage Rock Ambassadors LES LULLIES Announce New LP (Slovenly Recordings) With Video this video of “Zéro Ambition”.

Montpellier, France is the spot, and LES LULLIES – chief local importers / exporters of the crazy rock beat – ready their 2nd LP with a slew of sweaty live shows around town, the rest of the country, and several other swingin’ European locales in an exhausting tour schedule that has the freaks in heat. Order New Vinyl LP “Mauvaise Foi”

IT’s been a looooong time coming but finally the evening has arrived where Michael Monroe pays tribute to The Lords Of The New Church. This has been hanging around since the pandemic first broke and the will they wont they questions were asked. I’m so glad it wasn’t shelved or kicked to the long grass because those Lords songs are too good to be resigned to history and whilst Brian, Dave as well as Mark Taylor are still with us we need to celebrate them and who better to stand in for Stiv than his old mucca Michael Monroe. Whoever pulld this off give yourself a big pat on the back because I’m sure Stiv was looking down and tipping his hat in approval. anyway I get ahead of myself. Whilst it was all about The Lords for me there was plenty going on besides as a well attended Shepherds Bush Empire will testify.

The first VLRockers set involved a couple of covers fronted by Paul Ronney Angel the choice of the two being a riproaring ‘Teenage Depression’. Then they were joined by Kim and Jackie for the HeadGirl EP with Beki Bondage adding vocals for ‘Please Don’t Touch’. The final track of the first 30 mins was ‘God Save The Queen’ with Millie Manders and Gaff which was dedicated to Lydon as the news that Nora had just passed away filtered through. The real highlight of this set I would say was the brass section which really added to this song selection…making it sound so much more than a mere covers set. A most lively of starts….

To be fair to the VLRockers house band they were in fine form all evening and did some sterling work when playing ‘Pipeline’ or having Jim Jones join them to tear through some Rock n Roll standards like their rcollective tails were on fire. The special guests were prompt and the awards were handed out in fine Mick Fleetwood and Sam Fox fashion which led to the live bands for the night and collecting an award the Cockney Rejects then performed a very brief set of their material with new tunes wedged between old classic Rejects culminating in a fine rendition of ‘Badman’ the only downside was some plonker in the audience chanting Chelsea at the boys from Canning Town and I’m sure he wouldn’t have been so edgy had any of the band heard his foul tirade, there’s always one.

Anyway, next up was Neville Staples Band and after catching this band perform an incredible set at Rebellion many moons ago they once again didn’t disappoint plucking Specials hits left right and centre and in thirty minutes the whole venue was moon stomping and singing along to classics like ‘Ghost Town’ and ‘Monkey Man’ once again I’d seen a fantastic set from a fantastic band whose energy and positivity was boundless.

It seemed like the years were pealing away and I was taken back to when I’d seen The Lords Of The New Church with the most incredible of frontmen in Stiv Bator but alas he has long since departed and all that is left is his memory and his music and if you were to pick one man to perform those songs with the band then it had to be the one and only Michael Monroe. As the house lights went down and Mark Taylor fired up the synth for the intro of ‘New Church’ I swear a warm glow descended over this theatre in West London and a gift from the rock n roll Gods fell down. Dave Treganna fired up that bass throb in time with Terry Chimes’ drum beat and we were off before the unmistakable roar of Brian James’ guitar filled every corner of your soul, we have lift off as Monroe danced to the front centre and it was finally happening. It was, however, an all too brief set and being greedy I could have heard them play every single track the Lords had recorded and still wanted more but alas I’ll take this however brief it might have been. ‘Livin’ on Livin’’, and ‘Method To My Madness’ Were fired out of the PA with aplomb as were classic Lords ‘Dance With Me’ which was well deserving of the Moroe saxophone

It was a no-brainer as far as I was concerned, this was never going to be a car crash of any description the players and the music was far greater than that possibility was ever meant to be. Let’s not forget for a minute these songs are 30-plus years old and a lot of water has flowed under the bridge since they were last played in anger by Mr James or anybody for that matter. It truly was a joy to close your eyes and feel the weight of ‘Russian Roulette’ or ‘Dance With Me’ filling the air of a concert hall again.

The band were then joined on stage by none other than Mr Rat Scabies who presented his old pal Brian with an award before ordering mr Chimes to Fuck off the drum stool so he could sit in and hammer out a mighty fine rendition of ‘New Rose’ as Michael Monroe looked genuinely star struck having to sing the song. It was a magical moment amongst several magical moments that had occurred over the last thirty minutes. Some of my favourite performers over a lifetime of music, on a stage playing some of my favourite songs ever. It was something I was trying to compute in real-time but I don’t know if I’ve taken it all in I do however know that I was delighted this evening had finally taken place and seeing the living Lords reform with Nick Turner standing on the stage left to supply tambourine and backing vocals was the icing on the cake. It was then abruptly brought to an end after an impressive Bo Diddley/New York Dolls’ ‘Pills’ and then they were done.

A tremendously entertaining night from Vive Le Rock with some fantastic performances topped off by The Lords Of The Fucking New Church Revisited Can we do this again sometime? pretty please.

So a long time ago almost another life pre-pandemic I got to hear a record by a band called Nuclears from the East Coast of America and they had a record that sounded fantastic. Well, during lockdown the main man Mike started another chapter in music with a new band Bayaz after covid pretty much killed Nuclears and some years later we find ourselves here in easter 2023 and a new dawn with a new record. I forgot to mention Mike pretty much has the gift of writing pretty fucking good rock n roll tunes that have catchy hooks riffs n everything that will brighten your day up a notch or two.

This record was recorded in Brooklyn and from the off its a sonic blast off with howling guitars racing off like a wild horse and you have Mike Dudolevitch riding this damn beast trying to tame that Stallion with hooks and melodies twisting and turning on opener ‘Someone Elses Dream’. The dueling guitar solo is a whip crack n smash as the album opener is an exciting song that sets the tone really well.

Don’t be judging just yet because ‘Running’ is a slower beast with some great percussion driving the song on. With a steaming 70s Rock heart beat this is another twist on the opener drilling down on the legacy left by the likes of Thin Lizzy for sure. But hold on to your hat because ‘I Wanna Be Oppressed’ is a snotty slice of glam slammin punk n roll where you get to have the chorus and song title rattle round your head within an instant and trust me it wont let go for a while. Excellently delivered Rock n Roll.

I wouldn’t be doing my job properly if I wasn’t championing records like this. An album you might never ever hve the pleasure of crossing paths withunless you are also down on those crossroads trading your soul for some Rock n Roll. This record continues to twist and turn as it navigates the middle part of an album from the uptempo rockers like ‘Found Money’ as it passes the more laid back deep cuts like ‘Up All night’ and the epic six minute plus workout that is ‘Circle’ that drifts through your speakers fucking with your head as the saxophone blows any cobwebs away as part of what can only be described as an album within an album and all in six minutes, mental.

‘Please Please Please’ just turns the amps up and rocks the fuck out like the spirit of Fast Eddie is with us. ‘Bayaz’ is the name of the band, the name of the album and the name of the penultimate track thats a beast of tune heavy as fuck and smashing it over the first few minutes before fucking with your head like some big cock rock guitar noodle fest. If that didn’t mess your head up enough the band sign off this album with three minutes of Rock n Roll with Little Richard piano and harmonies all over a flamin’ guitar lick ‘Spinning Bird Kick’ is a fine way to sign off a mighty fine record.

Hit the link and go check it out for yourself, Happy Easter rock n rollers heres a gift from me.

Buy Here

Author: Dom Daley