People of a certain age know Nigel Planer as Neil from the iconic tv series The Young Ones, and Den Denis from Bad News. His list of roles in Comic Strip Presents is also impressive. As well as a host of film and TV roles way too many to list here. Check out this video exclusive interview with Kenny.

Kenny sat down and shot the breeze with Nigel Planer on the eve of his latest book launch ‘Jeremiah Bourne In Time’ Nigel played the famed Hammersmith Odeon and Donnington Monsters Of Rock, not something many people have done especially when it was the iconic festival pre Download. Neil, Neil orange peel is a character etched into the brains and memories of any kid of the 80s so without further delay – You can hit that link and head over to the youtube channel and sit down and enjoy Kennys chat with the one and only Nigel Planer. (Make sure you pour a large drink it’s a long one.)

Hit that link –

Pre Order his book Here




Classic rock n roll transcends time by distilling heart and passion into the soul that connects us with others in some collective unconscious pool of emotion, which can range from exuberance to the darkness of heartbreak. Whether we grew up listening to the likes of the Faces and the Rolling Stones or the Dogs D’amour and Quireboys or checking out this new mini album by the Circus Hearts, these are not just songs but the sonic blood that drives us. The Circus Hearts have sprinkled a couple of singles out over the past few years which are also included here on one of the finest albums you will hear this year.  

I have been lucky enough to spend about a month with these songs, which immediately grabbed me but have become even more contagious over repeated listens. Opening song ‘This Old Coat’ comes ringing in on the guitar and a sprinkling of piano which sets the stage perfectly with Joe Anzuena’s vocals on the verse immediately making a statement that this is going to be special. In the past, I have thought this musical approach isn’t doing anything revolutionary new, but I now lean a little bit more towards the other end as not nearly enough music is being made in this style anymore. ‘Family Tree’ roars out of the speaker with a hint of Exile/ Sticky Fingers era Stones. Like the opening track, this one packs another stellar hook in the chorus.

The album is self-produced and mixed perfectly. Sean Flynn’s guitar jumps out of the speakers while the rhythm section of Jojo Buerklin (drums) and Chris Herninko (bass) carries each song to new heights. Each song also employs the use of piano/ keys which also shine in the mix. Wrapping up the first half of the album is a splendid cover of the Faces’ ‘Had Me a Real Good Time.’ Covering such a song can end up going spectacularly bad, but there are no reasons for worry here. Anzuena’s vocals are magical throughout the song as he hits the notes perfectly and gives them a hint of grit when needed.

Flipping the wax over leads to another embarrassment of musical riches. ‘Baby Bye Bye’ should grab listeners who appreciate catchy guitar riffs, female backing vocals, and sax work. This style would have fit seamlessly on the Black Crowes’ ‘Shake Your Money Maker’ or the first couple Quireboys’ albums. At no point in this album is there any dip in quality. Follow-up song ‘Annie C’mon’ continues in a similar vain and contains some killer sax work by Bobby Michaels. I would be perfectly content to isolate the sax in the song and just listen to it because of how well it is done.

Closing song ‘Circus Hearts” has become my favorite amongst favorites here as it slows the tempo a bit with a nice piano intro. The slower tempo allows Anzuena’s vocals to shine again as we vicariously feel life on the road moving from town to town. Lyrically, the Circus Hearts establish their own identity as well with familiar subject matter avoiding the typical cliches. Much as the Faces cover closed side 1 as the longer epic, this final song goes past the 5-minute mark as it continues to build. This is not a power ballad though if that is what you are thinking. This is just a slower rock song that exudes emotion.

At the end of the album, the biggest disappointment is that there are only 6 songs here. It leaves you longing for more songs, so the only logical solution is to either flip the vinyl over to start again or let the digital files circle back around for another play. The Circus Hearts have channeled a magic elixir here and hopefully have more in store for us in the future. If you like any of the bands I have mentioned or needing a fix of rock n roll, I urge you to stop reading and go pick up the vinyl before it is too late and you have to settle for just a download of one of the best releases of 2023 whose timelessness will mean you are adding this to your favorite playlists moving forward.   

Buy Here



Author: Gerald Stansbury

Motorhead at a jazz festival? Really? Yes, really! In all fairness, the Montreux Jazz Festival is renowned for its diversity and inclusiveness, everyone from Deep Purple to ZZ Top have graced the hallowed Auditorium Stravinski stage over the years. Motorhead always crossed genres throughout their illustrious career, from punk to metal and everything in between, Lemmy would pop up in the most random of places from milk commercials to movies. It feels like the most natural thing in the world knowing that Motorhead brought their uncompromising, ear bleeding show to a jazz festival!

This lovely live recording of that very show was recorded on the band’s ‘Kiss of Death’ tour and features the most dynamic line up of the band (in my opinion) with the Welsh wizard Phil Campbell on Guitar and Mikkey Dee on drums. The track listing is a career spanning one with all eras of Motorhead (up until that point) being showcased to deafening effect.

 Opening with Snaggletooth, and Lemmy’s famous mantra of ‘We are Motorhead, and we play rock n roll’ it’s easy to see why this line up of the band lasted the longest. They really are as tight as a duck’s backside, to me though, the age-old argument of ‘are Motorhead a heavy metal band?’ with Lemmy always insisting that they were a rock n roll band falls down with the undeniable fact that Mikkey Dee is 100% a metal drummer, and a bloody good one at that!

We get all the favourites of course, Stay Clean, Metropolis, Going to Brazil, Killed by Death, Iron Fist, Ace of Spades, and a ferocious performance of Overkill. For me though, the later material on this live album highlights some of the bands best. In the Name of Tragedy from the Inferno album is an absolute belter and sounds amazing here. We also get the brilliant neck destroying ‘Be My Baby’ from ‘Kiss of Death’ and it’s great to hear ‘I Got Mine’ from ‘Another Perfect Day’ sounding so fresh. We also get a decent cover of Thin Lizzy’s ‘Rosalie’ which works well with Lemmy’s vocal approach. ‘Sacrifice’ with its double bass drum barrage and crunchy riff has always been a favourite of mine and we get a trademark Mikkey Dee drum solo in the middle of the song.

The production is rock solid, the band really are on fire here, and the package is great as usual from the BMG camp. Available on double LP, double CD, and all digital platforms. Live at Montreux Jazz Festival 2007 will be a great addition to any Motorheadbangers collection. Jazz….nice..

Author: Kenny Kendrick

Influenced by the punk and hardcore Norwegians THE MANSTERS have released a demo, three EPs and a full-length album since their inception in 2006.

Now in 2023, seven long years following that self-titled debut album, the five-piece group from Tønsberg are back with a new full-length album titled “The Lessons In Giving Up”, and it’s out on Loyal Blood Records. 

Recorded by Ruben Willem at Caliban Studio Storsjøen, ‘The Lessons In Giving Up’ is a high-octane blood brother to Fellow Northern Europeans The Good The Band And The Zugly. The band manages very nicely to harness that raw aggression of punk with the pummelling fury of hardcore and some speed metal thrown in for good measure. It’s been a style for decades now and trying to perfect it is hard many have tried and failed with some of the finest exponents of this style currently being Clowns from Australia and TGTBATZ.

Eight songs are on offer here kicking off with the frantic ‘Welcome To Hell’ with its pounding tempo and uncompromising style its a blinding opener and I love the stabs before the solo enters the frey like a chinook helicopter blade slashing and slicing. But hold onto yur strides kids because ‘Panic Boy’ turns up the pace and is off like a freakin rocket.

The bass grunt on ‘Underdogs’ gives you time to take a sharp intake of breathe before we speed off again in a flurry of drums bass and guitar. It’s a short but oh so sweet records with some variety – its not all thrash til you die they’re not savages for Gods sake. ‘Walls’ is a slower beast but is prowling round your speakers like some pissed off grisley bear weating to pounce. The melody on ‘Walls’ is an earworm you welcome. ‘Give Up’ is a frantic melodic slice of punk and again I love that bass sound they’ve hit on as it punches its way to your attention- ‘Give Up’ is a beast.

The final three offerings follow a pettern – pound – pound and pound again as the listener submits and throws themselves around to some mighty fine punk rock hardcore crossover. If you’re looking for some blood pumping top notch harn n heavy punk rock then The Mansters are your band. Get on it and give them some love and tell em the RPM boys sent you. They’re waiting

The Swedish Death ’n’ Roll machine known as JESUS CHRÜSLER SUPERCAR race at full throttle on this here EP

Led by the axe-swinging frontman Robban Bergeskans, the Stockholm rockers consisting of drum machine Nicke Forsberg and former Refused guitarist Pär Jaktholm continue to plough a dark and heavy furrow one that exudes power and a passion for hard rockin’ tunes. They have a mammoth groove on the opener ‘God Hates Us All’ no it’s not a Slayer cover (but if it was it would be awesome) Death’n’Roll slowly marches towards you with its unfeasibly heavy sound its more a pounding stomp than anything else as it reaches its guitar solo it’s blood curdling and bone crushing and heavy as hell.

Four years following the release of their critically aclaimed album “Lücifer”, the Swedes now return with a 4 track EP titled “Rising”.  Produced by Nico Elgstrand and Jesus Chrüsler Supercar, it sounds fucking massive.

The second track enters on some howling feedback before the gates of Hellare opened and out they ride on a groovy and powerful Death ’n’ Roll song ‘Suck In The Dust’ is chaotic and heavy as ten anvils bleeding Rock no make that ROCK! I’d imagine this live would really be something that could fell forests not trees as their gasoline soaked Motörhead and Discharge sound is a monster.

‘When you are dead’ is like the best slasher movie song never to make it onto celluloid. Grinding and grooving they nail it again. Leaving only ‘The Killer’ (of course they had a song called The Killer) to take this sucker home with the EP’s finest track saved til last. More uptempo it’s like a doom-laden Motochrist song with a great vocal shouting out the lyrics over the huge riff and a direction they should do more of. Now let’s have that devastating album to follow this bad boy up. Still The best name in Hard Rock bar none no go – Get some!

Buy Here


Author: Dom Daley

JESSE MALIN  |  photo by Vivian Wang

A re-recorded version of the song ‘TKO’ from ‘The Fine Art Of Self Destruction’, the 2003 debut album by New York based singer songwriter Jesse Malin is available Here. It is the final one of three re-recordings that have not already been included as part of that record’s recent 20th Anniversary reissue. Reimagined and re-recorded with his longtime band, the song was produced by Derek Cruz and engineered by Geoff Sanoff, who also worked on Malin’s ‘Sunset Kids’ (2019) and ‘Sad And Beautiful World’ (2021) albums.

Official Site  |  Facebook  |  Twitter  |  Instagram

Second out round two and this Tuesday its Random Hand who are celebrating their 20th anniversary this year, and to mark this they have announced a new self-titled album, due September 29th via Bomber Music and released this video ‘Lifejacket’. You can pre order the album Here

Peter ‘Blackie’ Black, Ray Ahn, Murray Ruse and Tim Rogers, otherwise known as The Hard-Ons from out of that there Australia where every creature wants to kill you.

If you’ve never heard of them this is album #14, off the back of their most recent release, 2021’s ‘I’m Sorry Sir, That Riff’s Been Taken’ the Hard-Ons have been busy constructing this beast from all the parts of music they dwell in down there punk/rock/metal/thrash/pop its all there.

From the punky attack of the records first single ‘Apartment For Two’ to the big riffage of ‘In Falls Everything’, the record is packed to the gills with big hooks and a unrelenting power but its wrapped up in melody and a great production.

Renowned for their pop-infused punk meets metal to rock, that goofy oz tongue-in-cheek humour, The Hard-Ons are the original Australian punks that kicked down the door for the likes of Amyl, The Chats and others to walk through. Their influence should not be underestimated globally. 

Ripper 23′ is the band fucking with you and having the best of times doing it. Marking an ode to the actual Ripper compilation albums from the 70s (if you know, you know) in the UK we had the Top Of The Pops albums with a page three stunner on every record in various stages of undress be it across a greasy chopper or just coming out of the sea all wet and bothered (of Course) sexist? Um!?, everything old is cool and retro is in vogue, Hell it’s 2023 anything goes and The Hard-Ons know that.

Apartment For Two’ is punk as fuck and a riotous opener that Hard-Ons do as good as anyone else in the genre. Next up, ‘Three Separate Light Bulb Moments’ is a riot in audio from the frantic thrash but as you settle down for the full attack it’s done. ‘Going It Alone’ is a wonderful pop song like when Husker Du offer up stonking melodic indie rock or the Lemonheads cut loose on a Buffalo Tom tune. Hang on ‘Sheets Are A Shroud’ is rockin’ with the best of them. A crisp clean riff that sounds sharp as fuck which only paves the way for ‘Chopping Block’ as it gallops through the record like a stallion. Hang on ‘Grandiose’ is heavy as an anvil and about to explode at any second then the gang vocals join in. The record then changes tracks with a DC riff pounding its way as those who are about to rock do just that, its six-packs of beer and a foot on the monitor wedge – let Rock and Rock hard! Big, big balls!

Ripper 23′ always sounds like it has a good time through every song, be it hard rock or frantic punk. ‘Makes Me Sick’ cleanses you with some firework punk rock where the guitars sizzle and spit, while ‘Sling Shot’ gallops like a metal riff fest, with hushed vocals to counter the riff before a killer guitar solo that Brian May would be proud of cuts through a frantic flurry of drums.

And closing out this record, the upbeat ‘Letterbox’ is like a Blag Dahlia wet dream with folky harmonies fucking with you before kissing you goodbye with the bluesy throb of ‘Ordinary Things’ with its pianos, and melody it grows into some epic pop-rock blow out.

The Hard-Ons do whatever the Hard-Ons want to do and again they achieve the impossible cross overs with ease and make anything and everything possible. What and where they go next who knows, whatever it is it’ll be quality and you will love it. Get Ripper 23 you wont regret it at all. 

Buy Here

Author: Dom Daley

The first thing that struck me about this farewell was the striking artwork. I must admit that a small lump in my throat was quickly cleared with the thought that they all say T’ra but then head back out on tour or do a covers album or a duet or some form of return but I also had thoughts of none of us are getting any younger and an end to recording and touring is inevitable for all of our pop stars but that artwork and that title is a tough one, especially for someone like Duncan Reid. It’s been some journey from that last show with The Boys to the exciting news that he was putting a band together to releasing a record that was pretty bloody good (like we didn’t know it) but it lit a fire inside Duncan and he went on to write, record and release better records over the next decade up to this point where we get to hear his Swan Song and what a swan song it is.

The album opens with a classic Reid song with a punchy New Wave synth but it’s soon caught up by a rollicking rocker – uptempo music whilst the lyrics are thoughtful and reflective but yet another classic Reid opener – grabbing your attention in an instant and before you know it you’re lost in the music. ‘Funageddon Time’ kicks off on a ‘Personal Jesus’ guitar lick before heading off down a glam stomping route. Not content with being one of the nicest people in music he writes songs titled ‘Just Try To Be Kind’ and it’s like a little ray of sunshine backbeat rock n roll with lush bv’s and a tidy melody – of course it’s bloody nice. Inevitable lyrics and songs about the dreadful lockdowns are a global topic for connecting with audiences and Duncan has ‘Can I Go Out Now Please’ with its fine arrangment with McCartney piano stabs sitting nestled nicely amongst those great guitar riffs. Theres even time here to branch out with the strings on ‘It’s Going So Well’ thats the best World Party song Wallinger never wrote.

Of course there are bouncy rock songs here – take ‘Oh My My’ just rolling with the punches. The new wave rocker thats ‘Real Good Time’ and ‘Everybody Knows Its True’ driven on by the piano had this been thirty years ago we’d have seen these loons on TOTP knocking songs like this out every other week leadign the charge for guitar driven pop and doing it better than most.

They also push the envelope on this album with some of the arrangments like the Who inspired ‘Bill Gates’ with some nice Synth fills and a fantastic arrangement topped off with a punchy dirty guitar riff. Hold on handbrake turn as we get some Urban Voodoo umpapa parlour music with some sweet viloin soloing on ‘Would I Lie To You’. As we head towards the curtain call theres time for one of the albums finest songs ‘It Rains On The Good’ reach for those tissues as ‘The Guilded Cage’ is the final lockdown song from Reid before he signs off with ‘Singing With The Beach Boys’ which is pure Duncan Reid & The Big Heads and thats it done, finito, the end, uno mass. Good vibrations indeed its been the best and Duncan Reid has saved the best til last with his most accomplished album of the lot and its been a very impressive collection.

Mr Reid it’s been a pleasure, our chats, the live shows and of course the fantastic music it’s one hell of a legacy you leave in this murky business of Rock and Roll but one that people will remember lots of them. The smiling frontman who climbed to the top of the hill and took his time coming down, making people happy and smiling on the way – Duncan Reid we salute you now piss off and put your towel on that lounger you’ve earned it. Oh, when you’re fed up with root veg and doing nothing I’ll look forward to the comeback album and tour in a couple of years see ya! Until then nos da i chi Duncan bob amser yn bleser byth yn orchest

Buy Here

Bob Vylan is going on tour. Tickets for the ‘Viva La Vylan Tour’ are on sale now.

They’ve been locked away making new music and it’s time to get back out on the road. They’ll be joined by Panic Shack and Kid Bookie from the 12th onwards and Meryl Streek will be joining them in Ireland.

Buy Here

With the mighty Flamin’ Groovies being the sound of summer chez moi, it seems appropriate to review this double CD live release from Cleopatra Records. With the lion’s share of tracks being from the Roundhouse gig of 1978, and the rest from the Imperial College in 1976, this is the classic line up of Jordan, Wilson and Alexander. On the one hand, this was the band at the height of their live power, tight and focussed. On the other, I’d really like to hear the Roy Loney era gigs, to absorb his more unhinged approach.

1978 kicks off with ‘Between The Lines’, and it’s a reminder that we’re lucky to have The Speedways nowadays. It’s a similar knack with a tune, simple but somehow clever at the same time. ‘Lady Friend’ shows their talent for melding Beatles and Byrds melodies without sounding too earnest, which makes the inclusion of two Beatles songs all the more puzzling. ‘Please, Please Me’ and ‘From Me To You’ are decent enough homages, the drummer nailing Ringo’s hi-hat shenanigans, and the crowd sound happy. Maybe the band wanted to move away from the Loney material, but didn’t have too many songs to choose from?

However, we do get to hear the classic ‘Don’t Put Me On’, which is essentially ‘Shake Some Action’ Part 2 (this isn’t a criticism!). It remains one of my favourite songs, and currently, in France, the fabulous François Premiers do a cracking version. Along with ‘House Of Blue Light’ and ‘Reminiscing’, there’s Cliff’s legendary ‘Move It’, which feels like a better choice of cover version.

1976 has to include ‘Shake Some Action’, obviously, still one of the best songs ever. Sound quality is a little shaky (sorry), but worth hearing nonetheless. You don’t want a slick sound, do you? It’s beautiful as it is. ‘I’ll Cry Alone’ is gloriously melancholy, while the run through of ‘Miss Amanda Jones’ might remind Mick and Keith to dust it off whilst they still can. And they rattle through ‘Hey, Hey, Hey!’ in a manner to get Jim Jones’ foot tapping.

Also included is an alternative take of ‘Slow Death’ and the Courettes’ mix of ‘Shake Some Action’, which is pleasant enough with its Spector Sound and added drums, but you can’t improve on the original. So, if you want to experience the 60s by way of visiting the 70s, this is a fine destination, daddio.

Buy Here

Author: Martin Chamarette