Dez Dare – ‘A Billion Goats. A Billion Sparks. Fin.’ (God Unknown Records)

Dez Dare – ‘A Billion Goats. A Billion Sparks. Fin.’ (God Unknown Records)

Australian born, Brighton based musical psychonaut Dez Dare is back with album number four ‘A Billion Goats. A Billion Sparks. Fin.’ This, his first long player for new label God Unknown Records (home to the likes of Duke Garwood and John J Presley) sees the garage rock renegade experimenting with wires, microchips and transistors and adding an element of electronica to his already trademark fuzzed out psychedelic stomp.

Fear not though diehard Dare fans, our musical anti-hero hasn’t gone full on Krautrock on us (well not just yet anyway) and produced an ambient drone record, as one listen to the excellent ‘Got A Fire In My Socket’ single/video will prove. Sounding not unlike John Du Cann covering ‘Kid’s In America’ it all comes together faultlessly to provide an inspiring auditory twist to the Dare sonic attack.

Bringing this new electronic tinged soundscape to full realisation three tracks into the album is ‘10,000 Monkeys + An Argument in Time’, a song that sounds like it’s been written over the soundtrack to a long lost ZX Spectrum game. It’s the near perfect antidote to the threat of AI enhanced music here in 2024 and whilst it shouldn’t really work it’s the best thing Dare’s written to date utilising 8 bit technology.

There’s still plenty of old school guitar driven head noise for us all to submerge ourselves in too, via the likes of ‘Matter v’s Matter’, ‘Call My City, Don’t Call My Telephone’, ‘Schrödinger’s Apocalypse’, and the album’s pulsating closer ‘A Billion Voices Screaming, Hello Void!’.

For me though, it’s when the metallic ping of ‘Gotta Cold Feeling’ and the pulsating throb of ‘Entangled Entropy’ unfurl themselves mid album to provide a creative high point and things move into almost Henrik Palm territory pushing ‘A Billion Goats. A Billion Sparks. Fin.’ into almost mainstream territory. Something I don’t think I’d ever thought I’d find myself writing about Dez Dare, but then with bands like King Gizzard and Osees (or whatever they are called this week) planning to take over the arena circuit here in the UK and Sleaford Mods already there, what the hell is considered mainstream these days anyway eh?

‘A Billion Goats. A Billion Sparks. Fin.’ Is released on March 1st 2024, St Dez’s Day, on CD, download and deluxe vinyl, complete with a comic album.

Hit the link below to order your copy.

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Author: Johnny Hayward

The Yalla Yallas – ‘A World At The End Of The World’ (Self-Released)

The Yalla Yallas – ‘A World At The End Of The World’ (Self-Released)

Leeds noisenicks The Yalla Yallas follow up their 2021 album ‘What It Means To Be Human’ with a thought-provoking 6th studio album entitled ‘A World At The End Of The World’. Self-produced and recorded at Loom studios in West Yorkshire, we join singer/songwriter and main protagonist Rob Galloway on a retrospective trip through the cosmos where he questions our whole existence, searches to find out what is real, declares undying love to at least one girl, and ends up hanging out with Elvis, or something, before the end of the world.

With an album title that gives a ray of hope in spite the impending doom, first single ‘Atomic Clock’ offers a ‘no fucks given’ approach, a welcome return to the uncompromising, high energy rock n’ roll the band are known for. But the interesting thing about this album is that The Yalla Yallas throw about some unexpected curve balls through the 9 songs on offer, and it starts right from the word go.

Opener ‘Dream Out Loud (Parts I,II and III)’ is a 5-minute plus, slow burning epic affair full of atmospherics and devious intentions. It builds on a sole, picked acoustic guitar and Rob’s lonesome vocal. A sound that immediately draws the listener in, demanding their full attention. The ebb and flow create cinematic vibes, whether it be the Slash-like guitar noodling from Will Grinder or the chilled outro, full of spacey, sound effects. It sets the scene for a journey of sorts.

Elsewhere, the Bad Seeds influenced ‘Down At The Zoo’ is a 12-bar blues anthem for outcasts and socials rejects. An instantly catchy hook, regimental beats and a laid back but confident swagger make it an early highlight. Some say it’s grim up North, but the band somehow manage to channel Ennio Morricone vibes creating their own West Yorkshire spaghetti western with ‘Drive Me Out Of Town’.

The likes of ‘Reset’ and ‘Hey Brian!’ are more in tune with what we have come to expect from The Yalla Yallas. Full of driving beats, rock guitars and a spoken word extract courtesy of The Rebel Poet (David Holmes), ‘Reset’ is the sound of a band on a charge, and ‘Hey Brian!’ is a low-slung rock n’ roll affair with Rob doing his best Bobbie Gillespie over a shoutathon of a chorus.

Taking things right down with a tinkling of the ivories, acoustic guitars and brushes on skins, is the delicate sounds of ‘Barcelona (Absolution)’. Cinematic in its approach and delivery, it’s a song that is as instant as it is fresh sounding. With a well thought out structure, a less is more approach and a cool outro hook with a spoken word diatribe Patti Smith would be proud of, it’s an album highlight for me.

With any Yalla Yallas album there’s gotta be a radio friendly potential single, and ‘(Baby Baby) I Love You’ is ‘AWATEOTW’s hidden gem. An upbeat song full of joy and positivity with an earworm of a chorus. Imagine the sound of early U2 with Steve Jones cranking out the guitars and you might get close.

The raucous punk n’ roll of ‘Elvis (You Gotta Shake)’ finishes things up nicely with cool bass runs, neat licks and added “uh-huh’s” for good measure.

‘A World At The End Of The World’ is a strong return from a Northern band that are well known for their high-energy, sweat-drenched live shows. Rob and his band of brothers have created an album that is raw and ramshackle and delivered from the heart. It sees the band challenge themselves as songwriters to step outside of their comfort zone and create a diverse sounding set of songs with themes of escapism and searching for new horizons. It’s good to have them back and look forward to catching these songs live in the near future.

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Authpr: Ben Hughes

Poison Boys/Jonesy – ‘Split’ (Ghost Highway Records)

Poison Boys/Jonesy – ‘Split’ (Ghost Highway Records)

Six of one and almost half a dozen of the other. Man I love a good split LP, Ghost Highway is good at delivering split records be it 7″ or 12″ they tend to get it right when they pick bands to split. First up one of our favourites at RPMHQ has to be Poison Boys not content with a new record of all their early singles in one convenient record they’re hitting Spain for a quick tour and it makes sense to hook up with one of the best labels dishing out Rock n Roll on the continent in Ghost Highway who’ve pulled in six tunes from Poison Boys being five originals and one from filthy rock n rollas Jonesy from outta Canada.

Of the original tunes they’ve included the most excellent ‘Knocked Down Again’ a tune RPM were pleased to have premiered for the band late last year alongside the opener ‘The Searcher’ with its bruising bovver boy punch rocker. The band are delivering that sleazy Johnny Thunders meets Toilet Boys Rock with plenty of attitude as good if not better than anyone else out there at the moment. The harmonica honkin down n dirty ‘Sleaze City’ is pure 100% Punk n Roll it’s like the dirtiest of early Aerosmith being kicked around the Lower East Side by some nasty punks and the wandering gob iron mixed with that barroom piano is the best night out in one three minute rock n roll song I’ve had the privilege of for a while.

By the time you reach their take on Jonesys ‘Messin Around’ you should get the picture for what these boys are about. truly fantastic, reckless rock n roll and taking an already top tune and owning it isn’t something anyone can do so this makes it top-notch and a winner every time it bursts out of the speakers.

Flip this bad boy over and enter Jonesy and their good time filthy Rock n Roll. ‘8 Track Mind’ begins with a lounge laid-back set of smooth keys and handclaps and then the party begins and builds up slowly and smoothly to the wonderful guitar solo. Not what I was expecting at all but hey it’s a touch of class. Then the shots get downed and someone let the gatecrashers in and the sleazy ‘Down’ turns the Amps up but not to a wrecking ball more a measured scarface coolness as Jonesy ease themselves into this split.

They then offer up their take on the Poison Boys ‘Can’t Get You Out’ and now were cooking. A class tune gets the Jonesy treatment like a proper yob job on those gang vocals and hey presto it’s like a long-lost Hanoi Rocks tune. Marvellous.

‘Only Shams’ is a beast of a lick before heading off like one of those Toilet Boys flaming guitars. Two very different bands doing their thing to a wonderful level and both offering the very best, say two sides of the same coin. It would be a split decision if it were a cage fight but I’d expect them both to fight dirty. If you’ve never heard either band now is the time to get involved and jump on board you won’t be disappointed in the slightest if you are I’d check for a pulse because you might just be dead. Buy It! Banger!

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FIZZ/Maya Delilah – Tramshed, Cardiff – 23rd February 2024

FIZZ/Maya Delilah – Tramshed, Cardiff – 23<sup>rd</sup> February 2024

Rewind to Christmas 2023 and RPM’s Albums Of The Year podcasts. During the second broadcast when the gang were running through Ben Hughes’ album list, he advised us all of a record called ‘The Secret To Life’ by a still relatively new band called FIZZ, which in his wise words, told us all “you’ll love this Johnny, its very Jellyfish like powerpop”. I of course immediately needed to know more as Ben certainly knows his stuff, so with Google at hand I went on a musical adventure to discover what the hell he was raving on about and after a couple of false starts (I rather foolishly watched the videos before listening to the album) I finally started to understand, and love ‘The Secret To Life’. It’s an album that truly transcends genres (hence why watching the videos first wasn’t exactly the best way to get to know them) and oozes positivity, and it’s safe to say if I had known back then what I know now, it would have plain sailed into the number 1 spot in my own albums of the year 2023. The rather obvious next step on my journey of musical discovery being to experience what the four members of the band (Greta Isaac, Orla Gartland, Martin Luke Brown and dodie) would do with such an extraordinary record in the live setting.

I’m apparently not alone in my quest either, as tonight the downstairs in the Tramshed is packed out, filled mainly with a much younger demographic than yours truly, a large contingent also dressed up in some way to resemble tonight’s headliners, and you know what, for the first time in years I feel like I’m experiencing something new and exciting scene wise. The PA might be blasting out Andrew Gold, ELO and Boney M (making it feel a bit like I’m back at one of my old school discos) but FIZZ and their community of fans are very much about how you can bin all the negativity in life here in 2024 and simply just enjoy yourself, and that right there is exactly what going to a live show should be all about.

There’s a stark contrast to some of the other audiences I’ve been in most recently, as not only have I’ve never seen the bar area quieter in the Tramshed, but also during the support set by singer/songwriter Maya Delilah there is a hushed reverence and respect for the artiste from the audience that is a model example of how one should behave during a solo show. And why shouldn’t there be, you’ve paid your hard earned to get in, so sit back (or stand back, in tonight’s case) and immerse yourself in a world outside of your own, you’ll never know what you might discover. As it happens Maya Delilah delivers a fine 30-minute set that in equal measure has me thinking of Pink Floyd (guitar tone) Jeff Buckley (in the dissonance of the songwriting) and early Amy Winehouse (in the vocal delivery), the later almost coincidently the last time I witnessed someone being told to “shut the fuck up” during a live show for talking during her set. There’s no need for any such warnings tonight though as Maya seems genuinely blown away by the respect and reaction she is afforded and I for one shall be looking to join her 300,000 monthly listeners online to find out more.

Looking at the stage set up complete with larger than life lollipops and candy canes and a backdrop not to dissimilar to the ‘Bellybutton’ album sleeve, part of me wants FIZZ to appear on stage in their own mode of transport just like the Banana Splits did when they first wowed me into loving pop music, and to some degree they do just this, albeit via the power of imagination as we are treated to an intro tape that has us all onboard a space ship set for Fizzvile just as its about to crash land in Cardiff, as the countdown commences I find myself grinning from ear to ear and that’s before the band (complete with additional rhythm section) have even played a single note. Bursting onto the stage like all conquering heroes the screams that go up remind me of when I saw King back in 1985 and you’ll have to forgive me if I get something in my eye as ‘High In Brighton’ literally takes the roof off the place.

For the next 60 plus minutes we are treated to pretty much all the band’s stellar debut album, a carefully selected track from each of the four members solo careers (which fit in seamlessly)   along with a FIZZ’ed up cover of Lily Allen’s ‘Smile’ and the time I spend in the band’s company simply flies by, largely in part due to the fact that the band themselves look like they are loving every second of their time up on stage, and its infectious, you know.

Highlights are plentiful, but for me it is main set closer ‘The Grand Finale’ in all of it’s Queen-like pomposity that illustrates just how talented this group really are, and then of course there’s the encore of the album’s title track complete with a bubble gun, a cat glove puppet and Thomas The Tank Engine outro tape to send us all of into the night not so much wondering what we’d just experienced as what an experience it was. If FIZZ had existed in the ‘70s, trust me, they would have had their own TV show, they are that kind of band, one much larger than life itself and the fact that they have tapped into the secret of this is what makes it all so bloody perfect. Tonight was the most I’ve enjoyed myself at a gig in years, and all I had to do was be in the moment. Joyous stuff!

Author: Johnny Hayward

Mala Vista – ‘Fun Time’ (Spaghetty Town Records)

Mala Vista – ‘Fun Time’ (Spaghetty Town Records)

NYC Punk’n’Rollers Mala Vista release their sophomore album ‘Fun Time’. Mala Vista (translates to bad view or bad sight) was formed in 2017 with Myke Miranda, Manny Dominguez, Erik LAMF and Ben Heyman, all sharing a love of the glory days of punk rock. Mala Vista stays true to legendary bands like Eddie and The Hot Rods, The Zeros, The Kids, Ramones and Johnny Thunders and boiled all these vital ingredients in their Rock n Roll mixing pot and poured it into their hearts and soul and then let it all spill out decades later into what you’re hearing right now.

There’s no fucking about, no trying to goof it up with some modern twist they just let all that Rock n Roll out and capture the energy and excitement that first hit us when the forefathers did it in the 70s and beyond.


They might not be alone in this pure ’77 punk n roll revival that’s gently gathering pace thanks to some great labels like Spaghetty Town outta the USA there are some other kindred spirits on the scene doing likewise and turning heads like Poison Boys, Ravagers to name a couple we’ve gotten on board with here at RPM over the last few years. Mala Vistas’ second record gets underway to the sound of that magic ‘9 Ball’ with its drum intro smoothly rolling out the beat with some gritty 70 glam rock before going through the gears on this hot rod record in a zero to sixty in the blink of an eye mixing the Ramones attitude with the swagger of those Heartbreakers and we’re off and running like our lives depend on it. Follow that up with the least single and things are grooving on nicely. Some sweet BVs and well-placed woo hoos and this party is cooking nicely.

They go for the time-honoured well rounded production not too smooth plenty of light and shade and letting the music do the talking. It works really well so if it ain’t broke don’t fix it. ‘Juana La Cubana’ is a cool slice of power pop rock n roll with a great hook and melody and the emphasis is on that with a great sparse arrangement letting the song take the strain and doing so delivering a timeless pop song. In contrast ‘Die Waiting’ is like some early Bon Scott boogie staying in the barroom and listening to Dr Feelgood rather than Rocking harder, this has got serious amounts of swing to add to the compulsion to dance and move your feet boys n girls.

Shaking the tambourine to nail the tempo as the guitars add some meat to the bone and some smokey late-night NYC downtown action ‘Dirty By The Dozen’. ‘Cabron’ shakes some action before bringing the house down with a ‘Riot’ It’s a hoot and keeps the album short and sweet it’s focused and right on the money delivering a timeless slice of NYC punk n roll. They could write and record an album like this for decades and get the reputation as a go-to band for punk n roll with great songwriting and music that’s energetic, timeless and a real Fun Time. Get on it!

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Author: Dom Daley

Look for them touring Europe in Spring of 2024!
Upcoming Shows
January 26th-Union Pool (Brooklyn, NY)
March 1-Star Community Bar (Atlanta, GA)
March 15th-TV Eye (Ridgewood, NY)

The Complicators – ‘Self-Titled’ (Pirates Press Records)

The Complicators – ‘Self-Titled’ (Pirates Press Records)

Another day another quality record hits the shelves from Pirates Press. It’s been a while since we had some nasty snarling punk rock hit the streets, God knows there’s enough to be pissed off with around the spinning rock we reside on from the UK and our shitty corrupt government filling their greedy boots to the USA and the MAGA cult and their former commander in chief with his 30,000 lies his disciples swallow day in day out to Putin, The middle east it’s not a very nice place out there kids and sometimes we cry out for a record to mirror that instability back to us and offer us some hope and if not hope then a fist or a boot to stomp it out until the pressure is lifted and then The Complicators new album drops on my lap and all seems fair game with the opening salvo of the rapid and brutal punk rock of ‘Pressure’ no nonsense hit it and hit it hard punk rock is ringing out through my speakers loud and fucking clear. ‘Keep Your Hands Up’ is a blast as is ‘Blink Of An Eye’ bordering on the NYHC of old but a little more tempered and measured married to the Rancid early days of punk rock from the opposite coast.

Of course they’re from San Fran it is in their DNA and running through their music like Blackpool runs through a stick of rock. It’s shouty, angry, pissed off, and snarling like a badass dog who’s looking to bite your big fat lazy ass. ‘Trolls’ opens with a very tasty bass line. ‘I See’ is a great Bass and guitar riff with some sweet tones ringing out not too dissimilar from the last few Last Resort records style-wise.

As the record flows the punk rock comes thick and fast not straying from the MO with some big riffs ringing out like the tasty ‘Working Man’ with its extended intro its got some momentum and plenty of punch. ’86ed’ is leaping out of the fast Rancid riff handbook with a bit of Bad Religion going on as well.

They veer slightly into hard rock territory for ‘American Shame’ it’s big and bruising. This dozen-track album closes out in style with ‘Street Diamonds’ harking back to an Exploited style middle finger in the air. They take no prisoners and aren’t going out with a whimper. The Complicators deliver a pretty uncomplicated album full of piss and vinegar and something to play when you’re making those Molotov cocktails when the revolution comes a knocking. Turn it up, its punk as fuck!

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Author: Dom Daley

Canada’s DEADWOLFF Kick Off First American Tour of 2024

Canada’s DEADWOLFF Kick Off First American Tour of 2024

NO REST IN THE WEST TOUR

Deadwolff’s Debut Album Out Now! On Golden Robot Records

Kicking off their first tour of 2024, Toronto, Canada’s DEADWOLFF announces they will be hitting the road this coming February and March for American show dates. Entitled the “NO REST IN THE WEST TOUR”, the heavy rock n’ roll band will be tearing their way across the lower west coast of the USA for two weeks with their headbanging, beer-drinking, no-holds-barred tunes.

Feb 25 – San Antonio, TX – Hi-Tones
Feb 27 – Albuquerque, NM – El Rey Mezzanine
Feb 28 – Glendale, AZ – Starlite Lounge
Feb 29 – Las Vegas, NV – Dive Bar
March 1 – San Diego, CA – Tower Bar
March 2 – Los Angeles, CA – Universal Bar and Grill
March 4 – Tucson, AZ – The Rock
March 5 – El Paso, TX – The Living Room
March 7 – Dallas, TX – Three Links
March 8 – Oklahoma City, OK – Grand Royale
March 9 – Tulsa, OK – The Whittier

About:

A blend of hard rock, punk, and metal, Deadwolff set itself apart from other bands with its take on the New Wave of Heavy Rock and Roll. Recommended for fans of Tank, Motorhead, and Midnight, Deadwolff‘s is a revival of foot-tapping, beer-drinking, headbanging tunes, and more. The band is touring in support of their debut full-length “Heavy Rock N’ Roll” released last year via Golden Robot Records.

The Drowns – ‘Blacked Out’ (Pirates Press Records)

The Drowns – ‘Blacked Out’ (Pirates Press Records)

Seattle rockers The Drowns are gearing up to unleash their latest salvo of blue-collar punk rock ’n roll: Blacked Out. Returning to the studio for this LP with longtime producer Ted Hutt (Dropkick Murphys, Flogging Molly, The Gaslight Anthem), Opening your new record with a track entitled ‘Banger’ and loosely modelling it around The Glitter Band it better bloody well be a ‘Banger’. It certainly sets the tone for what’s to come with a collection of songs that fuse their varied influences really well.

From the boogie-woogie shuffle roots of original 50s rock ’n roll, to the strutting swagger of 70s glam & “bovver rock,” to the gritty anthemic street punk its a pretty decent gene pool to dip those toes in. Single ‘Ketamine & Cola’ is up next and the sunshine Rock n Roll glam stomp rushes through the speakers. It’s catchy, Bright and one to sing along to for sure. The melodies and backing vocals are screaming out lifting the first few tracks as ‘Dynamite’ is like Mud never went away even if it is a brave move having a cover so early in the record but hell why not throw you a curve ball.

With working-class street punk lyrics aplenty it touches on plenty of genres and unifies the lot of em. Chest-beating working-class rock n roll is right where this record is at. The title track is upbeat and made for playing live. really good song. Lucky for the punters they love touring so the chances of seeing these songs in their natural habitat is decent.

I particularly enjoyed ‘Yob On The Rampage’ its where you imagine it to be going by the progression of this record so far. It’s like Slade Griffin on some harder rock but with a good hook and a party in mind. It’s not rocket science and they’re not reinventing the wheel just rolling with it and having a blast and that transfers into a well-rounded rock solid record.

‘1979 Trans Am’ is the embodiment of their approach to making this record and they’ve nailed a good time in three minutes. If I’m being honest this record gets stronger and stronger with the second half of songs are warmed up and cruising and the sound of a band enjoying where they’re at and killing it.

To finish off the record they do kick back and roll out the ole barroom joanna for one last late night sing-a-long on ‘Born To Die In NYC’ and keeping it simple with no breakout or big guitar solo it’s a fine mellow moment to put a full stop on a strong record. Don’t take my word for it. Hit it up and get the beers in, you can thank me later.

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Author: Dom Daley

Human Toys hit the UK for some Garage Rock

Human Toys hit the UK for some Garage Rock

Keep your eyes peeled for Parisian garage punk duo Human Toys, who are hitting our shores next month with a packed itinerary and without a doubt hitting a town near you!

Mar 1 Edinburgh – Leif Depot

Mar 2 Glasgow – The Old Hairdressers

Mar 3 Newcastle – Billy Bootleggers

Mar 7 Liverpool – Outpost

Mar 8 Shipley – Saltaire Shakedown

Mar 9 Wirksworth – Feather Star

Mar 10 Hull – Aloft

Mar 15 Brighton – Pipeline

Mar 16 London – Shacklewell Arms

https://humantoys.bandcamp.com/

If you happen to be a theremin-soaked punk rock-loving Francophile, you are in luck. Presenting a sexual and powerful stage presence, drawing from a host of subjects from B-movies, drugs and perversion to politics, sexism and gender freedom. Human Toys have spent the past couple of years taking their show all around the globe including Europe, Japan and the US. Showing the world their grindhouse enthused rock’n’roll.

Featuring a changing cast of supports up and down the country, featuring: The Screamin’ Kick, Los Coyote Men, Nervous Twitch, The Dry Retch, Martin Savage and the Jiggers plus many, many more. All of which are not to be missed. Come check it out, buy some merch and have a bonne soiree.

Th’ Losing Streaks – ‘Last House’ (Slovenly Records)

Th’ Losing Streaks – ‘Last House’ (Slovenly Records)

“Last House” is the third album from Sacramento’s Th’ Losin Streaks. Recorded in their backyard at Louder Studios in Grass Valley, California, with Tim Green (Nation of Ulysses, Fucking Champs) in the control room. Green also leant a hand on some finely placed keys as did Anton Barbeau – a friend of the band since their inception.

A proper band, with members – Tim Foster, Stan Tindall, Mike Farrell, and Brian Machado – co-contributing to the songwriting, as well as The Weeds classic ‘It’s Your Time’ making its way onto the record. they even got Bay Area legend Al Sobrente to shoot the cover picture. It’s groovy garage rock baby from the opening hoot of ‘I Mean You’ through the reverb hack and slash of the cover It is authentic and really well presented. It might be 2024 but sometimes you need the authentic analogue reverb and warmth to pull this Garage Rock n Roll off.

When asked the band said ‘Last House’ was about shaking it til you make it. It’s about EKO, Silvertone and Supro, Vox (Super Continental), and the Hohner Marine Band. It’s about 2” tape. It’s about the plague, and politics, and war or the hands of time. It’s about the ice cream man after the apocalypse. It’s a trans-world punk rave-up. It’s about Link Wray, The Sonics, and the Downliners Sect. It’s about The Rolling Stones covering Sam Cooke. That pretty much sums up exactly what they deliver, they absolutely nail it. For some Chelsea boot winkle pickin’ Rickenbacker riffin, they just get it and pull it off.

‘Last House On The Block’ is a super cool laid-back tambourine shakin slice of groovy time and it makes me smile when I hear it done so well. These cats are totally invested and you can feel it as much as you can hear it on tracks like ‘The Slink’ Man, this is oozing authenticity, and it’s an instrumental and do I need to remind you what I think of songs with no vocals? (what’s happening to me?)

you certainly get a lot of bang for your buck on this one with a full fifteen tracks squeezed into the grooves on this record. ‘Cake And Ice Cream Too’ is my pick of the pops with its cool lyrics and rhythm jerking back and forth before its sugar-sweet chorus and wild guitar lick. ‘Rue de Montrail’ is one winkle picker in the Cavern of the 60s whilst the other is Stradlin the early 76 snot of punk in the 100 club or roxy but it pulls you all over the place with that dirty honkin’ harmonica stealing the show from the guitar riff – excellent stuff.

There is time to chill with some good time acoustic strumming on ‘For A While’ easing you out of this time-warping record. With just ‘Mangalore’ to pull off into the sunset with the soft top down and head for the beach it is time to crack open another beer as the sun goes down – adios baby its rock n roll and I like it – a lot!

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Author: Dom Daley