‘SUBLIME DESTRUCTION’ IS OUT NOW VIA CADIZ MUSIC – ORDER THE ALBUM HERE:
“A level of skilled musicianship far exceeding the Fisher-Price punk of your average contemporary outfits.”Classic Rock 8/10
“Furious punk-infused rock ‘n’ roll with huge choruses. 12 tracks that prove the sulphate spirit never dies.” Daily Mirror Newspaper
Fresh from a UK tour with Australian punk legends the Cosmic Pyschos, and two sold out shows in Finland, New Zealand/London punk ‘n’ rollers Desperate Measures are primed to release a fifth single from their acclaimed ‘Sublime Destruction’ album, released via Cadiz Music earlier this year.
Titled ‘Untouchable’, the song finds Desperate Measures easing their feet a little off the accelerator pedals for a track that loses none of its intensity, despite its slower pace.
“‘Untouchable’ is a bit different for us. It was the last song we wrote for the album, and I guess it has shades of the Psychedelic Furs or Lords Of The New Church about it. Basically, it’s a ballsy, dark love song,” says singer Eugene.
Desperate Measures are busy working on new material for an EP release later this year and will be ripping up stages up and down the country for the rest of 2024. Look out!
Hands up who’s ever seen Terrorvision do a bad show? Didn’t think so, but can anyone tell me the last time they gave less than 100% live? I’m waiting….
Bradford’s finest export are the only band I’ve seen share a stage with The Wildhearts and come off the better band on the night, and I’m a big Wildhearts fan. Well, the Brit Rock survivors are back with their first album in a decade, it’s called ‘We Are Not Robots’, and it’s a bit of a banger. The band are rolling into Leeds for a (sort of) hometown show in celebration. Did I fancy it? Well, it’s certainly worth braving the shitty Leeds traffic on a damp and dreary Tuesday evening that’s for sure.
I’ve never been to Project House before. Run by the guys of The Brudenell apparently, it’s a bigger venue to cater for bigger bands, I guess. A 1000-capacity venue that has the feel of a warehouse gig. It’s spacious and has a cool vibe, perfect for RPM faves The Bar Stool Preachers to warm things up. Opening with a killer one-two of ‘Call Me On The Way Home’ and ‘All Turned Blue’ from last year’s ‘Above The Static’ album is a masterstroke, and frontman Tom McFaul has the Terrorvision crowd eating out of the palm of his hand from the off. The whole band are energetic from the first note until the last chord rings out. Tim especially, makes full use of the stage space and gets the crowd involved as much as possible. The room is pretty full by the time they hit ‘Flatlined’, and getting the crowd to chant the “woah woah” refrain is the perfect way to win over those who are not yet converted.
An exceptional live band flying the flag high and defiantly for British live rock music, proving that there is more to live music in the UK than Oasis and Coldplay stadium shows.
The last time I saw these two bands together was at Bradford St George’s Hall last year. That night I was in the rafters, tonight I’m four rows deep from the front of the stage. For me it makes such a difference to the feel of a gig. To be ‘in it’, to see the smiles on the band’s faces as they play, to see the sweat drip from their skin and just witness how they interact with each other on stage, this is my happy place.
Terrorvision have a strong greatest hits set that flows into double figures and they play them all and more tonight. As guitarist Mark Yates plays that opening riff to ‘Discotheque Wreck’ the place prepares to erupt, and erupt we do. Frontman Tony Wright, is all over the stage like a ball of energy, to his left bassist Leigh Marklew sports sportwear & shades and gurns like a loon for the entire set, to his right the effortlessly cool Mark flexes his tattooed and toned frame as he pulls all the cool guitar hero poses. With the addition of Milly Evans on keys, Chris Bussey on drums and a 2-piece horn section, the band are now bolstered to a 7-piece. Last time out they were all dressed in pink and black, tonight the theme is powder blue and white to match the album art.
Talking of the new album, there are new songs to be played, and punked-up single ‘The Night That Lemmy Died’ is next up, while a bit of a departure for the band it fits nicely and goes down well, not as well as the following ‘Alice. What’s The Matter?’ though, which sounds phenomenal. They then take us right back in time with ‘My House’, to great cheers. I remember first hearing this song in a club in Swansea when it was released, not knowing who the band was, and it always takes me back to that night when I hear it, that’s the power of music folks! Four high energy songs in, and Tony is sweating like a smackhead with a giro, you wonder whether he’ll make it through the set, but the boys only getting started.
You would be forgiven if you forgot how good ‘Still The Rhythm’ and ‘New Policy One’ are, or how ‘Josephine’, with its killer spaghetti western riff shoulda been the big hit off of ‘Shaving Peaches’, but the Terrorvision massive haven’t and show their appreciation in spades.
Newbies ‘Baby Blue’ and ‘You Gotta Want To Be Happy’ prove the band still have a knack for penning a catchy tune or two and they stand up well against the likes of ‘Middleman’, ‘Perserverance’ and ‘Celebrity Hit List’ tonight.
Set closer ‘Pretend Best Friend’ has the trumpets to the fore, the guitars to 11 and the energy levels off the scale, the band then return for a one song encore. It’s here where I’m thinking wtf haven’t they played? They’ve surely played all their aces, but then that iconic “doo-wop” refrain leads us into rock n’ roll ‘Oblivion ‘one more time, and those who feel they haven’t quite sweated enough get to do it one more time before the band bid farewell to Carly Simon’s ‘Nobody Does It Better’. And that is quite a fitting exit.
A band I first became aware of when I worked in London in the ’90s I heard a single that mixed up some abrasive flavours full of easter rhythms and much heavier Western rock, these East London upstarts were making music on their own terms and were forging a brave and interesting path all of their own and with lyrics that made you take notice of what they had to say. The last I heard was via their ‘Tank’ album and they were still kicking up a Shit storm being unpredictable and powerful.
Fast forward a couple of decades and once again they appear on my radar and to be fair they’ve lost none of the youthful energy perhaps stinging it with a more mature and measured accents. They’ve most notably roped in some big hitters here to help achieve a wide-ranging melting pot of alternative music most notably Iggy for a full-on take of ‘No Fun’, this isn’t the only helping hand but for me, it’s the most enjoyable but not the most diverse. That goes to Stewart Lee whose spoken words get chopped for yet more heavy content, Sinéad O’Connor singing on ‘1000 Mirrors’ its a heavy dub tinged with a sense of sadness but played with volume its a powerful tune.
You also get Radiohead, Nusrat Fateh Ali Khan, Primal Scream playing with your senses, and Chuck D and his public enemy chop shop of ‘Black Steel’, a tune I’ve not played for a while. Although it might not hit as hard as the original, it’s still an awesome version.
It all fits perfectly well in true ADF style not playing by anyone else’s rules besides their own, decades on they’re still going strong and mixing it up into the 21st century. Sure there are artists outside my comfort zone and who I’ve never heard of contributing but that’s the beauty of records like this from one track to the next you won’t have a clue and if a song doesn’t float your boat the next will.
Expand your mind and dive into some alternative, subversive mash-ups musically, but remember to always play ADF loud. You have been warned.
New album Synthesizer out October 4th via Dedstrange
New-York based band A Place To Bury Strangers release their new single/video, “Bad Idea,” from their forthcoming album, Synthesizer, out October 4th via Dedstrange. Following lead single “Disgust,” described as “one hell of a feedback-ridden ride” (Consequence), and the “addictive” (New Noise) single “You Got Me,” “Bad Idea” showcases the raw creativity of bassist John Fedowitz. “He came to the studio with a simple looping drum beat, thinking he didn’t have any good ideas—thus, the song was his ‘bad idea,’” says frontman Oliver Ackermann. “We each penned some lines on paper, and he sang the ones that resonated. After a few instrumental passes, the recording was complete. The result is an innovative track born from spontaneous collaboration and a touch of self-doubt, turned into something uniquely captivating.”
The video director for “Bad Idea,” Nick Kulp says, “While touring with the band doing visuals and lighting since 2022, I’ve been lucky enough to experience the band perform new songs and see the development of Synthesizer. In 2023, they started performing ‘Bad Idea’ and I was immediately hooked. It’s one of those live songs that really just takes you along for the ride and is really fun to do visuals and lights for. As the year went on we started talking about videos and elements for the new album and I was approached to do a video for this song and was immediately happy and grateful. I’ve been filming the band on tour and in their practice studio since December of 2023 and have been taking my Hi8 camera on the road and filming the shows. I tried my best to capture as much of the chaos of seeing the band live that I could — it’s an intense journey!
Synthesizer is the title of A Place to Bury Strangers’ seventh album. It is also a physical entity, a synthesizer made specifically for you to own, too, if you buy the record on vinyl. You can watch Ackermann demonstrate how to play the circuit board and functional synth album cover here. In an era of making music where so little is DIY and so much is left up to AI, to never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point.
The writing sessions for Synthesizer started in 2022 in the band’s Queens studio, shortly after the release of See Through You. A Place to Bury Strangers re-formed with a new lineup, Oliver Ackermann still at the helm, now featuring friends John and Sandra Fedowitz. Synthesizer very much feels like a record of reinvention. And of course, to ever so slightly reinvent one’s sound, one must also build a new instrument, thus again the synth in question.
The resulting record is one that is romantic, colourful, loud as hell. This is a band that is meant to be witnessed in a live setting, where the songs take on a new energy in the presence of a crowd. Ackermann founded the storied DIY space (and now effects pedal factory) Death By Audio. DBA, as a venue, had a collaborative, creative spirit of chaos and collectivity. That essence appears all over the band’s work, and Synthesizer is a raw collection of songs, wild and loud and fucked up just like the instrument itself.
I think it was a certain Ginger Wildheart who first bought The Lemon Twigs to my attention, and it was not long before their 3rd studio album ‘Songs For The General Public’ was in my hands and on my turntable. There’s been two more studio albums since then and the Long Island power pop band, led by brothers Michael and Brian D’Addario have been top of my “bands I wanna see live” list for quite some time.
On the road promoting their latest long player ‘A Dream Is All We Know’, tickets were purchased the minute I spied a Leeds date at my favourite venue.
The Brudenell date has been long sold out, and it is already busy as the unpronounceable Tchotchke take to the stage. A 3 piece, all girl band with a drummer who happens to be the lead singer. With their 3-part harmonies, pop sensibilities and cool song dynamics they fit the bill like a glove. I’m sold after just a couple of tunes to be honest.
Thye have one album out, it happens to be produced by the D’Addario brothers and their melancholy and dreamy pop music comes across like a mix of The Shangri-Las meets Sleeper. Yep, 60’s girl group meets Brit Pop, its all jangly guitars, lush vocals and laid-back melodies that stick in your brain.
I don’t know any of their songs but I’ll tell you one thing, I don’t think a support band has ever left such an impression on me before. Their album has got to be my next purchase.
I’ve been looking forward to seeing The Lemon Twigs for what seems like an age. They open with ‘Golden Years’ and it’s all jangly guitars, lush vocals and smiles from the off. With skinny t shirts, perfect hair and even more perfect harmonies, the D’Addario brothers are on it from the word go. Leaning heavily on the latest album and its predecessor ‘Everything Harmony’, it’s pretty much a dream set with a few obscure covers thrown in for good measure. The first highlight follows a version of ‘Transparent Day’ by The West Coast Pop Art Experimental Band. My two favourite tunes from the new album are played together: ‘Church Bells’ is a glorious power pop ode that could’ve been penned by McCartney in the early 70’s, and the following ‘If You And I Are Not Wise’ sounds more like the Byrds than anything in recent history. Emotive, transcendent and fulfilling, I could go home happy right now, but there’s more to come.
The boys switch instruments throughout the set and take lead vocals on the songs they have written. ‘I Wanna Prove To You’ is another highlight, with Brian playing bass and Michael bashing the kit like Keith Moon, drummer Reza Matin takes on guitar duties and bassist Danny Ayala plays keyboards. It just goes a long way to show what accomplished musicians this whole band are.
The atmosphere is electric in the room tonight as we witness magic on the stage. ‘They Don’t Know How To Fall In Place’ is killer and ‘Peppermint Roses’ is a new album favourite that is just as good live. The main set ends with the Beach Boys-esque ‘How Can I Love Her More’ before Brian returns with just an acoustic guitar to play 3 songs solo. His beautiful rendition of ‘Corner Of My Eye’ captivates the whole room, did I actually hear a pin drop? New song ‘Joy’ gets an airing, and ‘When Winter Comes Around’ is as emotive and possibly even more beautiful than the album version.
The full band return for a run through of The Beach Boys ‘You’re So Good To Me’ before ending on a high with a rocker. ‘Rock On Over and Over’ is as 70’s glam rock as you can get, T Rex meets Elton John for the win! What a finale.
I knew The Lemon Twigs were going to be good, but I wasn’t expecting them to be this good. The combination of perfectly executed pop songs delivered with an energetic performance, mixed with great sound and lights, by a band who are tight and look like they are really enjoying themselves. The benchmark gig of the year by far.
South Wales songwriter/wordsmith Jack Jones releases a beautiful new single The Mountains (You & I) through Strap Originals today. The Mountains (You & I), a sticky tune anthem about overcoming the trials and tribulations of everyday life, is the fifth track to be lifted from Jack’s much anticipated debut solo album ‘Jack Jones’.
Jack Jones says of The Mountains (You & I): “I went to live in a silent Buddhist monastery near Newcastle, trying to live a healthier lifestyle. There’s so much of life where you’re expected to talk, but then if all of a sudden you decide not to for a bit, it really calms you, chopping wood for the monks, carrying stuff around and fixing the monastery, doing gardening and living together with other people in this hall. We’d listen to the monks singing in the morning, which was beautiful, and watch them living out their lives. In the past, I’ve struggled so much to meditate – by the time I got out of the monastery I did feel like that normal anxiety that lives in me felt less tight when I got back.”
The one-take video for Mountains (You & I) starring Jack and directed by Jack, was filmed by Jack on the emergency stairs at Covent Garden Tube station, using every single one of its 193 steps – the equivalent of a 15 storey building. Watch the video here: The Mountains (You & I) .
Jack’s album ‘Jack Jones’ is available on vinyl in multiple colour formats, CD and digital download and was co-written, produced and mixed by Adam French. Also available will be Jack Jones’s new book ‘Tour Diaries’ Volume 1 featuring Jack’s time with Trampolene,The Libertines and Peter Doherty & The Puta Madres. They album and book are available here: https://found.ee/JackJonesALBUM
Jack Jones is a compulsive wordsmith, an obsessive jotter-down of phrases, and weird things that people say. Across three studio albums and a hatful of singles and EPs since 2013, his work with TRAMPOLENE has always drawn from this humungous, ever-accumulating verbal resource. On his own, he has also published a novel (2023’s ‘Swansea to Hornsey’) and recited poems and delivered spoken-word onstage.
For this album Jack Jones has put away his guitar and embraced a fresh and highly contemporary sound in which to couch his hard-hitting state of the nation poems of existential fear and loathing. His lyrics tackle many of today’s burning issues: mental health, drug addiction, mortality, and the tortuous demands of technology. There’s also joy and hope in there. The new direction arose out of an introduction to Mancunian artist/producer/songwriter/laptop warrior Adam French. For Jones, French’s way of composing and recording was like being teleported into a parallel dimension.
Jack Jones will be playing the following headline shows in November:
NOVEMBER
2nd SAT Glasgow – The Poetry Club SWG3
3rd SUN Liverpool – Jacaranda
6th WED North Shields – Three Tanners Bank
7th THU Manchester – YES Basement
8th FRI Cambridge – The Six Six Bar
9th SAT Shrewsbury – Albert & Co Frankville
13th WED Bristol – The Exchange
14th THU London – Old Blue Last
15th FRI Swansea – Bunkhouse
16th SAT Cardiff – The Moon
Jack Jones alsoplays the following show with TRAMPOLENE: Salt Market Social – North Shields (28th September).Jack will be performing and signing at the following in-stores this week:
Jack Jones has enjoyed Top 10 success with TRAMPOLENE on the Independent Album Charts with three Top 10 Albums, hit the road as special guest to Liam Gallagher at the personal request of the iconic frontman, supported The Libertines on an Arena Tour as ‘Tour Poet’ and had the honour of being the first act to headline Swansea Arena.
Celebrated alternative rockers release first new material in over 30 years with ‘Forces Of Evil’ EP to be released October 25th via Darklands Recordings
Balaam And The Angel are three brothers who were born in Scotland and grew up on a council estate in Cannock in Staffordshire. They played music together as teenagers but finally formed Balaam And The Angel in the early 80’s inspired at that time by the new scene that was developing around Bauhaus, The Sisters Of Mercy, Southern Death Cult, Theatre Of Hate etc. and a collective experience at the Futurama Festival in Bingley Hall, Stafford in 1981. The band achieved great success in the 80s alternative and rock scenes, signing to Virgin Records for their debut album ‘The Greatest Story Ever Told’, and touring the world with the likes of The Mission, Kiss, The Cult, Aerosmith and Iggy Pop until the release of their last album ‘Prime Time’ in 1993.
That period up to the present day has seen some intermittent activity from the band. All three of the brothers have taken time out to explore and develop successful careers outside of the music industry, have families etc, whilst at the same time maintaining some visibility with their very loyal UK fan base through social media and carefully selected performances and tours. The level of interest in Balaam And The Angel (and the early 80s alternative scene) has increased considerably in the last decade making the purpose of a new release seem much more relevant.
On Friday 25th October, Balaam And The Angel will release ‘Forces Of Evil’, a collection of recently recorded songs to celebrate the 40th anniversary of the band’s first 4-track EP World Of Light (released in Nov 1984). It is the first release of new material for over 30 years.
The EP will be released in the same format as its predecessor as a 4-track 12-inch single. There will be an option of a coloured vinyl or a vinyl picture disc. This will be the only physical format that will be released (there will be no CD or cassette). Fans will not be able to access a digital version until Friday 1st November when the songs will be released onto all the usual digital and streaming platforms.
The record will be released on the band’s newly created Darklands Recordings label (Darklands being one of the tracks that appeared on the 1984 EP).
The material was recorded in Oxygene studios Manchester with Christoph Bride (who has recently worked on albums by The Chameleons and Kirk Brandon/Theatre Of Hate/ Spear Of Destiny). The sound of the record marries the feel of the bands darker past with the punchier edge of their later releases.
The four tracks on the EP have been written by the band and demonstrate a more developed approach to the lyrical content which embraces some of the bands more common themes about how we navigate our daily lives alongside some more provocative themes such as mental health and the contradiction between religious belief vs religious intolerance and the way in which this are used as one of the reasons for the persecution of others.
“The process of creating this collection of songs has been incredibly unique and has prompted us to revisit some previously overlooked ideas. The track ‘Forces Of Evil’ had its origins way back in the start of our musical journey. It was a song that we had set aside because the lyrics seemed too naïve and simplistic however fast forward four decades and we have a set of lyrics and sentiment that could not be more current and universally appropriate,” says guitarist Jim Morris.
Watch the video for the opening track of the EP ‘Dancing Senseless’ HERE:
The band will go on tour in November to support the release of the EP taking in 8 cities throughout the UK (see below for tour dates). It is the first major outing since the “1984 – 1988 Singles And More” tour in April 2018.
The band have continued to perform intermittently since then choosing to play carefully selected headline shows and special events such as Tomorrows Ghosts Festival, Kirk Brandon Westworld Weekend, The Mission Shindig and most recently as special guest on the sold-out Almighty shows (Nov 2023).
Balaam And The Angel are one of the very few bands who can still claim to have maintained their original line up. They are three brothers born in Scotland and raised in the West Midlands.
Six years since their previous album, The Peawees are back with 11 corking new tunes of power pop goodness. Admittedly, I am more familiar with guitarist Dario Persi’s band, Radio Days, and while there are similarities between the two groups, Radio Days are a blast of sunshine while The Peawees sometimes have a darker edge to their melodies. That said, both bands have a pile of strong songs, proving once again that Italian bands currently have the upper hand, with the exception of The Speedways.
From ‘Banana Tree’ onwards, there are tunes to get you grooving, nodding or punching the air. This is a slinky number for the dance floor, as is first single ‘The Wolf’ (see video). ‘Drive’ is a radio friendly anthem, once heard, never forgotten. Simple, but very effective. And that’s what The Peawees specialise in; like Radio Days, they make familiar melodies sound fresh and exciting. ‘Plastic Bullets’ adds keyboards and a “woah, woah” refrain. It’s here that they sound most like The Speedways, as high a compliment as I can give. Two minutes fly by, and you’ll be playing it again.
‘Lost In The Middle’ has that hint of menace that John Reis does so well, currently my favourite track. ‘She Cries As She Kills’ is another slice of power pop, complete with handclaps. The production is excellent throughout, the guitars have just the right amount of crunch, without overshadowing the vocals. ‘Who’s The Enemy’ will get you swinging your pants, with a Beatlesque chord sequence. It’s infectious stuff. What can I add? The title track shares some DNA with Radio Days, no bad thing, obviously. With this album, they’re two of my favourite bands. Speaking of which, ‘You’ll Never Be Mine Again’ sees the band duetting with The Detroit Cobras. While the inimitable Rachel is sorely missed, fair play, it’s a beautiful song. If the above mentioned bands are your thing, you really need this album in your life.
Lo-Fi Garage rock baby! The Shitdels started as Jordan Wayne’s bedroom project with his wife, Katelyn, shortly after they moved to Nashville from Memphis in 2015. A handful of the songs were leftover from Wayne’s Memphis garage/psych band The Blackberries (aka Whoa, Blackberries or just Blackberries) and the rest were kind of written/recorded in that vein. It’s fuzzy and the vocals sound like they were recorded in a bucket using a pair of headphones for a mic but that aside it’s a whole heap of fuzzy fun and songs like the swinging groovy ‘Hold On’ have a tonne of charm and the melodies are infectious.
It’s authentic and has the ingredients such as the honking Farfisa Organ adding layers to the already chaotic sound but in a Fuzztones kinda way it all adds to the charm of what they’re trying to achieve.
The record isn’t going to overtax your brain because the average song length is about two minutes and the pace and tempo goes from swinging to groovy baby in the eblink of an eye its psychedelic and fuzzy and the backbeat are grooving all over the place. the Lo-Fi production creates a feeling of claustrophobia and chaos but the melodies are often sooo pop like ‘Electric Cars’ its a punk rock Devo on acid.
‘All I Wanted Was You’ sounds like it’s hanging on by a thread but has a tonne of charm. it sounds like they left the faders open for a bunch of mics that weren’t being used but thought fuck it it adds warmth. The record is gone in the blink of an eye and the band works best on the faster buzz saw tracks such as the title track that races with an insanely hypnotic melody.
To be fair it’s a real good album and when played loudly its a real buzz and you can get into the sound and feel of the record it is raw as fuck and that is part of the appeal and charm. Get involved in some real authentic garage fuzz rock and on that note add The Shitdels to the top of your list.
The 19th of November 1988 will be forever etched into the RPM Online history books as the night I first met our esteemed boss, Sir Dominic of Daley, down the front at St Davids Hall in Cardiff catching the classic “There She Goes Again’ era line up of the Quireboys (supporting one Yngwie “fucking” Malmsteen would you believe) live. We bonded like brothers that night as it felt like the remaining 99.8% of those in attendance truly wanted to unleash the fury on us cowboy-booted ne’er-do-wells, and a decade or so aside (when our glorious leader went off to play Dick Whittington), we’ve been good friends ever since.
This is why October 11th 2024 is such an important date for us here at RPM HQ, not only because it marks the release of the all new 11 track album from the mighty Quireboys, but it also sees the band’s frontman Spike reunited in a recording studio with bassist Nigel Mogg and pianist Chris Johnstone for the first time since 1993 and the band’s second album ‘Bitter Sweet and Twisted’. An album, which in hindsight, turned out to carry a pretty prophetic title, given the antics that followed its release and those that eventually unfolded during the band’s second shot at glory, when they returned in the early noughties with the release of their excellent ‘This Is Rock N Roll’ album and an additional “The” preceding their band name.
There’s been plenty written elsewhere about the last line up of The Quireboys’ acrimonious split and Spike’s subsequent battle to regain the band name, but the positives that came from that parting of the ways now sees Spike’s former bandmates treading the boards under the name Blue Eyed Sons and bandanaman himself not only reunited with his former “classic era” bandmates but also having secured the blessing of his ole six string sparring partner and band co-founder Guy Bailey to carry on, before his untimely passing in 2023. Add into this 2024 Quireboys mix the return of American drummer Rudy Richman, and with Thunder guitarist Luke Morley stepping into the boots of Guy Bailey, with just one listen of the boisterous honky-tonk of lead single ‘Jeeze Louise’ you’d be forgiven for thinking that any of the intervening years since me and Daley first encountered the band had ever really happened, and yeah ‘7 O’clock’ was still without that chorus that would go on to make it a top forty hit here in the UK.
I’m reaching for my cowboy boots by the time I get to track two of the LP, the single flipside ‘Raining Whiskey’, only to realise that they have long since been replaced by Wellington boots (complete with the comedic L/R genius magic markered on the turn downs), and instead I’m just happy to relish in the obvious joy in Spike’s voice as he trades lines with his hero Franke Miller over this Bad Company/Stones-esque stomper. A sprightly opening one/two, and a real statement of intent for sure.
Things slow down slightly for ‘You & I’ the first of a few tracks that sound like smash hit singles in waiting and transport you back to an age when singles actually made musicians into bonafide stars, all before the tempo is back up to “in their prime” Faces pace, and the boogie of ‘I Think I Got It Wrong Again’ has me remembering why I first fell in love with the Quireboys all those years ago.
Elsewhere there’s the swaggering ‘Myrtle Beach’ for you to hum/whistle on the way home from the pub after a few shandies, and the immense Stones riffage of ‘Happy’ (no it’s not a cover) is custom built to get us all up on our feet dancing, add in the rather pointed strum of ‘No Honour Amongst Thieves’, and this trio fully demonstrates the light and shade of the Quireboys songwriting palette here in 2024.
Of the album’s remaining quartet of tracks the harp pumping strut of ‘Howlin Wolf’ reminds me of Horse London’s Gary Buckley’s streetpunk outfit The Terraces but still remains 100% Quireboys rock ‘n’ roll, whilst ‘It Ain’t Over Now’ is another of those potential hit singles I mentioned earlier, being not unlike a modern-day ‘I Don’t Love You Anymore’. Which just leaves the funky blues of ‘Like It Or Not’ and the images it immediately conjures up of what a Gary Moore and Spike collaboration might have sounded like if that were indeed still possible before it really is chucking out time as Morley’s acoustic guitar and Spike’s smoky half spoken vocals take us on one last nostalgic walk down ‘Wardour Street’.
I really must at this point take time to mention just how much of a positive impact Luke Morley has had on this set of songs, not only in his impeccable playing but also in his “spot on” production work. He really has captured the vibe and mood of the band and bakerboy caps are well and truly doffed here at RPM HQ.
I’ve enjoyed pretty much every album the Quireboys have released over the years, whatever the lineup, and ‘Wardour Street’ whilst an excellent addition to the band’s already impressive back catalogue is also like a shining beacon of light coming out of some very dark times indeed, and for that reason it makes it just that extra little bit (of what you fancy) special. I’m so glad Spike is once again back in control of all matters Quireboys and I look forward to seeing the band play some of these new songs live when they return to UK stages this November.
“What time is it?” It’s time for you to pre-order you copy of ’Wardour Street’ HERE.
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