Forty fucking years! Forty fucking years. I’m a grown up adult now who was devastated when ‘Two Steps’ was originally released seeing as it was the album that was on a major label and going to catapult my favourite band at the time to the top of the fuckin pops and everybody was gonna hear and see what I could and then disaster pointed the ficke hand of fate in our direction and it was all to be snatched away in a matter of months and my favourite band was to implode and leave behind an album that’s like a painful memory that was often visited but still to this day has scars that have been buried deep. Every time I play the record from start to finish I remind myself that, Fuck me it’s got everything. The coolest band, the best musicians, the ultimate rock n roll stars and the most talented musicians who did things on their terms and only danced to their tune but it was all snatched away.

I always think about what could have been, no, what should have been with ‘Two Steps’ but now some forty years later I was getting the chance to exercise some of those demons and finally pay tribute to the greatest band with fans who hopefully feel and felt the same as well as some members of the band who it must also be a bittersweet moment and churn up many many memories. Tonight was all about the celebration in one of London’s original iconic venues, which was a haven of cool back in the early to mid-eighties, and which isn’t a block of flats or a coffee shop/mobile phone shop. Ladies and gentlemen please join me as I fanboy and indulge in celebrating Hanoi Rocks and forty years of ‘Two Steps From The Move’.

I’ve only been in the Electric Ballroom twice in the last two decades but the previous two decades I was a regular, especially on a weekend for record fairs where funnily enough I picked up a pristine test pressing of ‘Two Steps’ back in the day but first CJ Wildheart takes to the stage to warm up the audience on this crisp Novembers evening.

From the off CJ knew what his job was tonight and with some cheeky banter he proceeded to entertain with a tight, crisp set from all corners of his musical CV (ok with the exception of a Tattooed Love Boys tune) we had Honeycrack tunes and some off the new soon-to-be-released album that is exceptional. ‘Butterfingers’ and his new single ‘Baddest Girl In The World’. CJ has struck a rich vein of form recently, making some of his best music so far and tonight he brought more than a tray of cans to the party he brought plenty of cheer and a support set that set the tone and managed to warm us up nicely.

‘Two Steps From The Move’ Ladies and Gentlemen I think I’ve laid out where I am and the bitter-sweet memories I have of the record now it was time for Monroe and Yaffa and the rest of the 2024 crew to dive in and make this an unforgettable evening of music.

As the band kick off with ‘Up Around The Bend’ they aren’t messing about and changing the running order it’s business and these cats are getting on with it. There are beaming smiles from the Cheshire cats on the stage to the drunks at the bar all singing along and having the best time. Man I love ‘High School’ and ‘I Can’t Get It’ and by the time we’ve all warmed up ‘Don’t You Ever Leave Me’ has received a massive ovation and that saxophone has just sent a shiver down my spine the length of the Thames.

Jonesy suggests we flip it over and get right into ‘Million Miles Away’ and the pain of the Helsingin Kulttuuritalo performance is wiped away in slow motion and such a beautiful song takes on new meaning and the tragedy of the past can now be replaced. Sure I’d love to have seen Andy and Nasty but it’s not that evening and this is special. Steve Conte puts his heart and soul into his solo and it works really well as does the interplay between the entire band the overwhelming feeling is one of celebration of what we have and not what could have or should have been. It was the songs we never get to hear that stood out and were shining like diamonds in the cold winter night – ‘Boiler’ was Rich Jones’s moment and it was so cool the way they all sang the harmony before an epic ‘Futurama’ gave way to the realisation that it was only ‘Cutting Corners’ and we were done.

We can all debate to infinity what the best Hanoi album and so on and so forth but there is no escaping tonight’s amazing vibe in The Electric Ballroom and the fact that there can be no complaints that was a stonking album performed with pride, panache, professionalism and a whole heap of love. Long Live Hanoi Rocks and their epic and original legacy. There was truly only one.

Seconds out round two and we are given a few minutes to collect our thoughts get a grip and ready ourselves for the second half and a run through some much-loved songs from the catalogue as Demolition 23s pair ‘Hammersmith Palais’ and ‘Nothings Alright’ show there was plenty of life in the old dog yet. These songs make up a big part of Michael’s solo shows and rightly so alongside newer material from ‘One Man Gang’ and everything besides, ending the night with the standard ‘Dead Jail Or Rock n Roll’. Now we can all moan and groan about why they didn’t play this or that but tonight was special and I’ll take it all no matter what they play, nothing is off limits as far as Monroe is concerned. Michael has such a rich catalogue and tonight this band is untouchable. I’ve seen thousands of bands and pretty much all the greats in a lot of venues around the globe but tonight I felt privileged to have been in the room for this and witnessed such a special show that was Rock n Roll boys and girls and I defy anyone to not have been bowled over by that.

Man, I love Rock n Roll and even in my more mature years, I’m happy to be a fanboy when it’s deserved and this was one of those nights that will live long in the memory and I can say I was there.

Now if I could make a request can we get a Demolition 23 tour and an original lineup show, maybe if you like we can go through the catalogue and play them all in their entirety I’m up for it. Nights like this is why writing about nights like this so special, they don’t come around often but when they do I’m so privileged to have been able to say I was there.

Author: Dom Daley

https://frankblack.ffm.to/teenageroftheyear30

To celebrate Frank Black’s landmark solo album, Teenager Of The Year turning 30, 4AD release a one-time vinyl pressing on 17th January, to accompany a tour of North America plus Paris and London, where Frank Black and the original band will be performing the album in its entirety.

This special vinyl tour edition of Teenager Of The Year, has been remastered for the first time from its original analogue studio tapes. Sounding as essential as the day it was released, the limited 30th  Anniversary Tour Edition is cut at 45 rpm for optimum playback and is being pressed on double gold vinyl. The album also comes in a gatefold sleeve with liner notes by both Frank Black and producer Eric Drew Feldman. A 24-bit digital version is being released on the same day.

Frank Black tells all about the making of Teenager Of The Year in a unique podcast with Mark Beaumount.

Welcome to my 30th anniversary Teenager Of The Year podcast, where you may hear me pontificate on the mysteries and swim among the faded memories of my 2nd solo effort from 1994.

 

Originally recorded amid a rich songwriting vein, just as the Pixies had been placed on hold, Frank Black’s ambitious double album Teenager Of The Year came out in May 1994, just one year after his fantastic self-titled solo debut. Recorded with scene legend Eric Drew Feldman (Captain Beefheart’s Magic Band, Pere Ubu, The Residents), Teenager Of The Year, is now widely regarded as the defining statement of his solo career and the best album the Pixies never made.

Sometime in the early 80s, I’d have to look up the date, I matriculated high school. This school held an awards banquet for some of the departing students at the school. I received an award called the TEENAGER OF THE YEAR award; my brother received the same award the following year. Our award was a 50 dollar credit for textbooks, a TEENAGER OF THE YEAR medallion (my mother still has this), and also the banquet hall dinner, soup to nuts. My brother and I had no complaint about the award (it was given for being all-around-good-guy as best as we could determine). But for such a grand title to be given as TEENAGER OF THE YEAR, I felt the glory had not been amplified enough.

In 1993, I was doing “solo recording” sessions with Eric Drew Feldman in Los Angeles. We had settled on a core band with Nick Vincent and Lyle Workman, occasionally augmented by Joey Santiago and Moris Tepper. Though we had to change studios numerous times for actual forest fires and earthquakes, the whole process was such an addictive musical buffet that Eric and I couldn’t stop. We did some vocals at a studio rumored to be owned by Sergio Mendes; in the control room was a wall of television screens broadcasting the brush fire which crept toward us. We eventually evacuated to someplace else. We never met Sergio but we saw him perform a few weeks later when we vacated to Las Vegas after the Northridge earthquake, which had trapped the TEENAGER OF THE YEAR tapes in a studio vault for some time.  Our zeal plus empathy from our financiers, they safely observing our travails from London, was enough to keep the money flowing until Eric and I relented and declared “Consummatum est”. 

We tried to make it grand. 22 in 62. I called it TEENAGER OF THE YEAR. It is 30 years old now, and the original band will perform the record at various venues in early 2025. 4AD has remastered the LP for a fresh printing. Enjoy.” Black Francis 2024 Meredith, New Hampshire.

Pitchfork placed Teenager Of The Year in their Top 100 albums of the 90’s saying “beneath its veneer lie the moments brilliant enough to rival any of the Pixies’ 1990’s work, and Black’s greatest lyrical achievement.” The album is also included in the book “ 1001 Albums You Must Hear Before You Die”, while The Quietus in 2014 said “Teenager Of The Year feels like a lost Pixies album in the way Ram feels like a lost Beatles album. It’s colossal, it teems with innovation.”

Initially it was a 14-song album. It was mixed. Eric Idle was staying nearby. He kept telling me to change the songs around. Al (Clay)had to run off and go to his next project. We weren’t completely happy with what we had. The solution: record more songs. Eight more were born. Whole shebang was remixed by David Bianco. The day before we were to start the remix, the 1994 Northridge earthquake occurred. Charles, Jean (Charles’ first wife) and I escaped to Las Vegas, ate many shrimp cocktails, and we saw Frankie Valli and the Four Seasons, and Sergio Mendes and Brazil ’99 perform. Sergio was especially good. After about five days we returned to the mixing studio and the deed was done.” Eric Drew Feldman.*

To pre-order the limited Teenager Of The Year 30th Anniversary Tour Edition go to: https://frankblack.ffm.to/teenageroftheyear30

The Teenager Of The Year Tour starts on 15th January at the legendary Fillmore in San Francisco and includes 11 US and Canadian shows before going over to perform in Paris on Tuesday 4th February and the iconic London Palladium on Thursday 6th February.

December Acoustic Solo Shows:

3rd – Brattleboro, VT – The Stone Church

5th – Portsmouth, NH – 3S Artspace

7th – Newport, RI – Jane Pickens Theater

The full 2025 Teenager Of The Year Tour Dates are: 

January 

15th    San Francisco, CA     The Fillmore 

16th    San Francisco, CA     The Fillmore 

18th    LA, CA          The Orpheum

19th   El Cajon, CA        The Magnolia 

22nd    Denver, CO        The Paramount

24th    Minneapolis, MN    First Avenue 

25th    Chicago, IL         The Metro 

26th    Chicago, IL         The Metro 

28th    Detroit, MI         St Andrews Hall

29th    Toronto, ON         History 

31st    Boston, MA         Citizens House Of Blues 

February 

01st    Brooklyn, NY         Brooklyn Street

04th    Paris, France        Trianon 

06th    London, UK          The Palladium

Feast you eye here on a Frank Black tour cartoon https://www.youtube.com/watch?v=yMlB2fBnLX8

Tickets for the Teenager Of The Year shows are available from here: https://blackfranc.is

It’s been a strange year. Just recently, I can’t keep up with the great, new albums being released. I almost missed this one, the second long player from the boys from Berlin. While Giuda keep us waiting for their next album, Mäsh have wasted no time in releasing potentially the boot boy glam album of 2024. It’s a loose term, really, as while there are many similarities between the two bands, Mäsh have their own flavour. They have the fun, infectious element of the early Giuda albums, but bring a touch of Dr Feelgood’s mania as well.

And the benign influence of the mighty Wilko Johnson can be heard on opening number ‘Candy’. If this doesn’t get you moving, nothing will. And ‘Beale Street’, with added harmonica, is equally addictive, though the opening riff is straight from The Monkees. So far, so good.

‘I Like It’ couldn’t be simpler, like The Stray Cats’ ‘Little Miss Prissy’. The band are obviously having a ball playing the songs, and it rubs off. ‘Endless’ is probably closest to Giuda, two minutes of perfect glam pop, bursting with energy. ‘Complication’ and ‘John and Maggie’ wouldn’t be out of place on a Slade album, and ‘Rich Folks’ also has that Canvey Island, driving rhythm, a real joy to hear.

Mäsh wear their influences with pride, but they keep it sounding fresh throughout, and the energy level is impressive. ‘Tickin’’ brings a bit more boot boy muscle to the mix, and Giuda should be looking over their collective shoulder, after the patchy ‘E.V.A’ album. Mäsh have the songs, the attitude and the enthusiasm for mass appeal.

Buy Here Or from Wanda Records Here

Author: Martin Chamarette

For the first time on vinyl, a great Australian high-energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. It is held in the same regard as Bored!, Asteroid B612, and New Christs—a real underground gem of OZ rock. Thanks to Bang Records this is the vinyl debut of ‘A Portable Altamont’ – Fully Remastered Edition to capture the raw power and energy that defined their high-octane sound.

This release showcases the band’s grit, the superb rhythms, and all held together with some sumptuous melodies clearly students of Detroit’s finest The Stooges and MC5, but with that unmistakable Aussie magic sprinkled in the mix.

Something of a staple in the Sydney underground. I’m happy to admit this is my introduction to the band and better late than never this is a superb introduction. Originally only available on CD, ‘A Portable Altamont’ has all the high-energy you’d expect from down under officiandos of the garage rock sound, with blistering guitars at every opportunity and melodies. As with most Australian bands from the alternative genre, there is a beautiful raw, unapologetic aura a nievaty maybe of a band just kicking out the jams. If you’re a fan of loud guitars, powerful melodies, and pure rock ‘n’ roll attitude, this is another Bang release that’ll tick all those boxes you’ve come to expect. From the opening thump of ‘The Same’ it’s absolutely raging. There are plenty of absolute belters like the riff-ola of ‘Chip On My Shoulder’ that would give any Steve Jones aficionado a run for their money. The tone is like a bomb going off in the speakers and it doesn’t end there its a beast of a song and like I said one of many.

It’s not all about the wall of raw guitar attack mind because the rhythm section goes toe to toe with some thumping hypnotic grooves like ‘Beyond My Hands’. The breakdown in so simple yet absolutely killer and when the band kicks back in its awesome.

There isn’t a bad song on here and even the more mellow moments sound like a fuckin landslide ‘Derelict Eyes’ on the back of the brawling ‘Chokito Bar’ that is as close to a bar brawl as you’re likely to hear. Side one closes with a bluesy rampage ‘No Turning Back’ and it’s time to flip this one over and get stuck into side two.

More of the same please gents as ‘Rock n Roll Marie’ comes spitting out of the speakers looking for trouble. ‘Feel Strung Out’ is the only way feeling strung out is appetizing in any shape or form. They do kick back a little on ‘Drives Me Wild’ but the filters are open and everything is set to the loudest possible setting. After one play of this, you are left wondering what it would be like stumbling across these cats in a barroom – it would be dangerous for anyone of a nervous disposition and if you’re like me with a dicky ticker get the defribulator on speed dial you might just need it. Hell, even the instrumental ‘Help Yourself’ doesn’t deter me from starting a one-man mosh pit. Before we check out and take a lie in a dark room we are treated to the full on fuzzed out fucked up ‘We’re Not Like You’ before we have to say goodnight with one final triumphant song entitled ‘Rock Action’ (of course it is). Brother Brick delivering the goods and if you’re looking for a fix of the good stuff then this is the one you need to get on. Buy It!

Buy Here

Ronnie Simmons and The Redback Spiders are currently touring their “Bite! Part One” EP across Australia including sold out shows as special guests for glam rock legends The Sweet. The Redback Spiders are Hayden McGoogan and Sean Anderson on guitar, Tommy Hills on bass and Chip Scanu on drums.

Australian Rock guitarist Ronnie Simmons and his new band The Redback Spiders debut their killer punk influenced EP ‘Bite! Part One’ Today. Based in Sydney Australia now, Ronnie Simmons (Rose Tattoo, Richie Ramone, ex-Faster Pussycat) fronts The Redback Spiders who are Influenced by classic punk and Australian pub rock with a tinge of ska. The EP “Bite! Part One” was written and produced by Ronnie, who played all guitars, saxophone and sang, it was engineered and mixed by Clay Davies (Bullets and Octane) at One More Time Recording in Los Angeles. The EP features iconic industry legends Richie Ramone (The Ramones) on drums, Johnny Martin (LA Guns) on bass, Danny Nordahl (Faster Pussycat) and Scott Churilla (Reverend Horton Heat & The Supersuckers) on backing vocals. The record is a sonic account of Ronnie’s journey cutting his musical teeth in the pubs of Sydney Australia, to living in Hollywood California, touring the world and life in 2024 as a rock ’n’ roller.

Having got a tip of the hat fro none other than Slash things are looking good for Ronnie. The six track EP kicks off in sprightly fashion with the energetic ‘Little Miss Understood’that has the seal of former Ramone Ritchie Ramone on the drums in the engine room cooking up a punchy beat with Rhythm section expert Johnny Martin who add some drive in the engine room that helps rock out on this upbeat opener. I can see how Slash would have been on board with the tone of that guitar solo that rips out of the speakers.

The flow of this ep is excellent and with the big bright production it has real potential to do well anywhere on this spinning rock. ‘Alone With You’ has an ear on the FM radio stations if they’re looking for a fix of big well-produced rock n roll. It’s got a big melody and enough dirt to pull this off.

‘You’d Think I’d Learnt’ is where the Ska enters which was unexpected in the verses but the chorus has attitude. With there only being half a dozen songs its bite-sized enough to consume in one go and the Ska continues with ‘Don’t Follow Me’ with its big horn honkin’ chorus to skank along to.

To be fair all the choruses are strong and regardless of the style it flows really well. I particularly like ‘Artificially Sweet’ for its punch but its cheeky wink with the pop melody but the guitars rip and the chorus ensemble is top-notch.

The EP closes with a rockin’ ‘Eaten Alive’ with its storytelling quality I’m left wanting more and looking forward to my second Bite already. Way to go Ronnie you got this.  

Buy Here

Author: Dom Daley

NO DRINKS ON STAGE – “that’s Luke Morley’s doing” jokes Quireboys’ frontman Spike as he spots the large warning signs stuck onto the front of the venue’s on-stage monitors. “He’s had me and Nigel practising too”. But what are the band going to sound like when they have rehearsed and not had too many sherries beforehand?

We’d been chatting in the pub beforehand about the times we’d all seen the Quireboys over the years, and the one thing we all said was “We’ve never seen a bad Quireboys gig”, but would a line up featuring two ex-members of Terrapin (thank you Spike for that little gem) on guitar and drums and the one time bassist/singer from (“remember the name”) The Grip match those high standards already set? Might tonight actually end up being an exception to that golden rule, even if ‘Wardour Street’ the album the lads are out on the run of shows to help promote is indeed a little bit of what every Quireboys fan should fancy?

Before all of that palaver though I’m in early doors tonight to catch the RPM approved Continental Lovers, who are playing some carefully selected Quireboys shows to help promote the upcoming release of their all new ‘Self Titled’ thirteen track debut album. Having last played Newport’s nearby McCanns basement venue just over a year ago the four Lovers instantly look just at home on this venue’s more expansive stage, the gigs they’ve played in between obviously reaping them full reward, as opener ‘St Joan’ crashes headlong into (my favourite tune by the band) ‘Tape Deck and we’re three songs in with barely the same number of minutes on the clock. It’s glam punk rock ‘n’ roll played fast and a hell of a lot of fun to (Chelsea) boot. 

As the crowd begins to fill out, I move back towards the mixing desk to take in proceedings, and as new single ‘Connection’ chimes in I can sense the levels of excitement rising through those lucky enough to get in early. In fact, from the number of Continental Lovers’ 7” singles I later see in people’s possession I’d say my glam punk senses were bang on point.

Closing things out with a cover of ‘Dead Flowers’ (think more the Dogs version than the Stones original) is perhaps something of an open goal, especially given tonight’s headliners, but every goal counts in this game and tonight Continental Lovers come away with all three points. “Victoire”.

At this point I have something of a confession to make, I’ve really struggled to get my head around ‘The Simpleton’, the new album from Willie Dowling, it’s not that it is a poor record, it’s just, errr…. not an easy listen (the last time I can remember this happening quite so clearly was with ‘Spilt Milk’ by Jellyfish around three decades or so ago).

It’s something that Willie himself explains to the audience from the get-go (phew, so it isn’t just me) as he takes his place behind his keyboard alongside his bass playing amigo Andy Lewis, with the rest of the music being provided by Willie’s electronic box of tricks and hence the band’s “Invisible” moniker.

The music itself isn’t a million miles away from the songs he’s previously written with Jackdaw4 or as part of Dowling Poole, but the lyrics are easily his most politically driven to date, as one listen to the likes of ‘Long Drop Down’ or ‘The Gravy Train’ soon prove. There’s even a heckler when Willie dares to criticize the calamity just waiting to unfold in the US in 2025 as he introduces Dowling Poole’s ‘Fuck You Goodbye’. Hmmm, perhaps ‘Long Drop Down’ is more prophetic than the songwriter could ever have imagined, and who would have thought that such stinging political messages would be delivered via tracks that actually sound like they were written during the days when the UK charts where full of names like Supertramp, Queen, Sparks and 10CC and not via the usual platform of punk rock? Has Willie perhaps unintentionally invented a new subgenre of politically charged progressive powerpop with ‘The Simpleton’? Only time will tell, I guess, but you can next catch the duo out on the road promoting the record with Cats In Space in the run up to Christmas and on a nine date 2025 headline tour.  

For the longtime Willie fans in tonight there’s a reworking of The Grip’s ‘Vera Daydream’ slotted in at the end of the set tonight, and as the duo leave the stage to their loudest cheer of the night, I’m reminded of the one and only time I saw that band, supporting (yup you guessed it) the Quireboys, then complete with their bar stage set, something that sadly isn’t with the band anymore, but their It Ain’t Half Hot Mum intro tape most certainly still is, and it’s soon booming from the Corn Exchange’s crystal clear sound system and Newport’s population of lovely boys (and girls) fall into line ready for tonight’s main event.

It feels a little odd watching Thunder’s Luke Morley strapping on his guitar and launching into the riff for opener ‘Jeeze Louise’, but only for about 30 seconds, because as soon as Spike opens his mouth to sing the opening lines and bassist Nigel Mogg quickly bounds across the stage to conduct the evening’s first Scorpions like pile-on with the six stringer, you can be in no doubt, this is very much a Quireboys show. Then there’s the smile on his face when they then race headlong into ‘Can’t Park Here’ which speaks volumes for how much he is also enjoying his time sharing stages with these two rock ‘n’ roll dandies.

The between song banter between Spike and the six stringer is fast and, at times, furiously funny, and the rehearsals I mentioned at the top of this review have certainly paid off for the band with new tracks like ‘Raining Whiskey’ (dedicated of course to Frankie Miller) and ‘You and I’ sitting pretty next to the likes of ‘Misled’, Tramps & Thieves’ and ‘Hey You’ and stand in drummer Harry James turns in a faultless shift in Rudy Richman’s absence.

Over on the piano there’s that Willie Dowling once again, now filling in for Chris Johnstone whilst also filling out the overall sound with the band seemingly settled on a reduced five piece format, although I do miss that added KLANG that the Ronnie Wood style second guitar always gave the band.

I also cannot go without mentioning that not only does the band’s merch tonight include two quotes from ex-members of UFO but whilst Mr Mogg was digging out his favourite Gibson Thunderbird for this tour he must have in the process also found all his old Pete Way VHS tapes, because he is absolutely on fire at the moment, throwing shapes left, right and centre, and this only serving to provoke his singing compadre to once again throw his mic stand around like Rod Stewart in his early ‘70s prime. And speaking of which, if I thought ‘I Think I Got It Wrong Again’ sounded like The Faces on record, then live, you could almost close your eyes and think you were back in 1970 watching one of the earliest UK shows by said band, and if that song is The Faces then ‘Happy’ really could be a Rolling Stones song. Magnificent stuff indeed.

These shows are of course overshadowed by the fact that founding Quireboys’ guitarist Guy Bailey passed away before ‘Wardour Street’ could be recorded and as such Spike dedicates an emotional ‘King of New York’ to not only the perma-behatted guitarist but also his father, who apparently thought the track was the best the band had ever recorded. You can almost sense Bailey smiling down on the band as they then draw the set to a close with a riotous ‘There She Goes Again’, ‘Roses & Rings’ and ‘7 O Clock’.

With the 10:30 curfew having long since passed there’s just enough time to raise our glasses in the air for a quick run through of ‘Like It or Not’ before we are all sent home with “something in our eye” thanks to an exceptional rendition of ‘I Don’t Love You Anymore’.

An emotional night for sure, and one that should silence not only any critics but also answer any nagging doubts you might have about what the Quireboys in 2024 are all about.

This is rock n roll, and I love it!

Author: Johnny Hayward

Episode 51 mixes brand-new tracks with some older classics that might have been forgotten, as well as an overload of covers.

First up is the exciting news that Midlife Crisis have a date of Feb 25 for the release of the long-awaited album. Fans of Hellacopters and Backyard Babies might want to tune into this bad boy. We play the opening track off the album ‘Silver Son Johnnie’ ’45 to 33′ is the name of the album and pre-orders to come along with a review of the LP.

Local South Wales noisemakers Bad Shout have an EP coming out in December on Repeat Records and its a banger. Six tracks of fizzing punk rock and we drop ‘Doublecross’ to get you excited and up for the preorder off Repeat.

Scandinavia features heavily on this week’s podcast with entries hitting Pumphouse HQ and the second offering from the North is Plastic Tears and their brand new single ‘Motorhome’. Hot on the heels is The Ratchets with the sound of Noo Jersey and ‘Holy Mother Of God’.

From the compilation album ‘Fucked By Rock’ Crazyhead should have been huge. Spearheading the Greebo scene they easily had the coolest single title ever committed to wax in ‘What Gives You The Idea Your So Amazing Baby’ but we entertain ‘Buy A Gun’ a forgotten classic. Probably not a song for the PC brigade but we love it and it would be nice fo the compilation to get a vinyl pressing doncha think?

David Delinquent and The IOUs are a new one on us and the Dundee pop n rollas have released this single ‘Nobody’s Else’ and what a banger it is. Looking forward to hearing more from David and his Delinquent mates if it’s even half as good as this. We need to get these bands into peoples ears folks and the only way to do that is to play the podcast and share the music.

Dharma Guns are a new one on us and rather impressed we were. ‘Ex-Generation Superstars’, the band’s debut, is all about high-octane rock ‘n’ roll with a side order of sleaze, don’t believe us well, give it a listen. Followed up by the king of catchy power pop Kurt Baker with his brand new single out on Wicked Cool Records (where else).

Front Kicks dish up some power pop before Heavy Medication Records newest release the Never Land Ranch Davidians rock up with ‘Cactus Cool Man’ and get on the groove from their forthcoming album due in Feb 25 it promises to be another top notch release to look forward to.

Laura Jane Grace has just toured England in support of the brand new album or mini-album ‘Give An Inch’ so it seems fair to drop ‘Karma Coming Close’ from the EP.

A Knife For An Eye are up next with a thumping track off their album ‘Damnation Rock N Roll’ again outta Sweden its fair to say they’ve really impressed us here at HQ. The album cover is very striking as well with the classic Chuck Berry pose really setting the tone for some attitude adjustment as ‘Getting Hooked’ is on point because we certainly did.

It’s cover time and this week we have the interesting take of the Dead Boys classic ‘Sonic Reducer’ from Sweden’s 69 Eyes followed up by a demo of The Dead Boys that’s on their recent new record out on Cleopatra Records. A previously unreleased Stiv led tune ‘Ya Really Don’t Love Me’.

For a little reminder of how good the genre of fuzzed-up Garage rock could sound we have Datsuns ‘Mother Fucker From Hell’ off their debut record. For another cover and we head to NYC and Electric Frankenstein who did a split with shit islands’ own still warm but sadly deceased The Hip Priests and took on their early banger ‘Young Savage’.

The penultimate offering this week sandwiched between some Garage rock n Metal we bring the excellent Steve Vincent with the title track off his solo album ‘The Best Kept Secret In Rock n Roll’ anyone who doesn’t know is myself and Steve still wears the finest pairs of Rock n Roll slippers also known as pixie boots or macho types refer to them as Chelsea boots but to give him credit Steve has quite the collection and hopefully we can see him wearing a pair live on stage sometime in 2025.

Finally, we’ve given in to Chris and his persistent nagging to get Therapy On the playlist as well as Judas Priest but I couldn’t possibly play anything by Halford and co so relented when he informed me that Therapy? had indeed paid their respects by covering ‘Breaking The Law’ so squeeze into your spandex, strap on your studded wrist bands and pull a wheelie on your chopper as we end with ‘Breaking The Law’. Catch you next week for more quality tunes from the Pumphouse here at RPM Online HQ.

Check out Roger’s encounters with GG Allin, Rodney King and working with Hollywood Records and Don Arden. Getting Nigel Mogg in Smash Fashion as well as his stories from the trenches touring with Motorhead and a whole lot besides.

Roger Deering talks Crymwav The 80s alternative scene, being broke, the perils of drug addiction as well as good times with Smash Fashion and currently Crymwav.

Roger has a fascinating tale to tell and does it all with a heap of PMA and hear about the future and what’s coming down the pipe with the excellent Crymwav.

Hit the link and check out Roger’s interview and get involved with Crymwav and the new music. Like – Follow – share!

The new video follows a somewhat tragicomic musician whose relationship is on the rocks. In addition to the band members, actress Suvi Kosela also appears in the video.

‘Motorhome’ is one of the tracks from Plastic Tears’ upcoming EP ‘Old Treasures & Lost Pleasures’, which aims to showcase both new and older material performed by the band’s renewed lineup.

Hook up with Plastic Tears: Here

It’s been quite the run for the Hip Priests what with their final live shows on the back of their final vinyl record being the ten-inch EP Swan song. Still, it doesn’t end there my friends because frontman Nathan Von Cruz has only gone and put pen to paper and taken notes of the final run as a Hip Priest and documented it all in this easy-to-read and thoroughly enjoyable book made of paper. However, I’d happily buy the audiobook on cassette for the crack where Nathan says it as it is in hushed tones.

I will say right here right now it’s a light book nothing too heavy or out of control and Nathan doesn’t really tell tales nor divulge tour secrets and While it is a tour journal he does stick to the time-honoured premise of what goes on tour stays on tour apart from having beer belly and the perils of only taking one pair of strides for a whole tour (schoolboy error by anyone standards).

It’s an easy reader but in a good way Nathan’s style is personable and uncluttered – you get the picture of touring in a van with a few other hairy dudes but it doesn’t gloss over what can effectively be chaotic and whirlwind time. Now the Hip Priests aren’t immune from tour mishaps like hospital visits and such like but this final shindig across Europe paints a fair picture of the frustrations of being a DIY band and how narrow the margins are and the fact they made it to the end without killing one another is a testament to the people you read about in the book. They were on the right side of history that’s a fact and there might be obvious reasons why they couldn’t break through the glass ceiling of rock n roll and move to bigger better more lucrative companies but that’s for directing another day This is about rejoicing in the good times and the fact that half a dozen music enthusiasts kicked ass on stage and in the studio for almost two decades should be regaled and rejoiced and most importantly because they did it their way which might also be part of the reason it had to be the way it gets described in the book.

It’s not war and peace nor is it ‘Get in the Van’ or ‘Sin After Sin’ from Alvin Gibbs but it is a different beast altogether and the modest Von Cruz should be enthused by the fall out of his written work because I certainly enjoyed it immensely even with my single criticism that there aren’t any accompanying photographs to go with this book so casual readers could put faces to the names. That aside it’s only a minor gripe what is important is the fact he got to document the final tours of such a great band.

‘Haus Blues’ is an insight into the scattergun mind of a rock n roll frontman and his weird and wonderful world as two very different worlds collide that of the rock n roll one and the other of the family man who has chores and everyday things to do like you and I. If you ever wondered what his favourite films were or his top 20 albums then Haus is where you’ll be enlightened. Again it is an easy read nothing too heavy apart from some of the content but it dovetails with some of the flip side book ‘Road Kill Blues’. Nathan is good at this and I feel that the purpose of a journal/diary book is to engage with the reader and he certainly does that.

In conclusion, I’d suggest if you are a fan of his beat combo or music writing in general this is a no-brainer and if you’ve never heard of his band and want a general insight then this is perfect. Top marks Von Cruz your book/books were a thoroughly good read now get to work on a follow up and whatever you do next I wish you every success. Buy It

Author: Dom Daley