White Trash – A Q & A with Dave Alvin

White Trash – A Q & A with Dave Alvin

The band initially formed in the mid-80’s. What were the early days like, and how did the band’s sound come together?

We all lived in the same neighborhood and jammed together for years. We all listened to different styles of music, but we were all primarily metal heads. I brought in the Prince and Parliament influence, Ethan brought in the progressive rock elements and Mike & Aaron added the Chili Peppers to the mix. The horn players really filled out the sound when we added them in and made us stand out from the other bands on the scene.

Your debut album was released at a time when some monumental rock albums were released, such as Nevermind, the Black Album, Use Your Illusion, Ten… I can remember the ‘Apple Pie’ video getting the Buzz Bin with MTV, and it bummed me out that the song and album didn’t lead to a big surge in popularity. What are some of your memories from that first album?

The first album for me was a non-stop party. It was a dream come true to get signed and then be all over MTV. Lots of women and booze. It was liking living in a musical porno movie.

Who would you have liked to tour with to support that album? In my review of ‘Si O Si, Que?’ I suggest Ugly Kid Joe might have been a good match.

We played a bunch of shows with Scatterbrain while touring for the first album. I always liked playing with those guys.

Between the debut and second album, there is a massive change within the band where you continue as White Trash and other members form Hash. I remember “artistic differences” being the reason for the split, which appears to be the case based on the differences in Hash’s album and where White Trash went. What was it like rebuilding the band? What did you think of Hash’s album?

We split up because we couldn’t get along or agree. Ethan hated the funk aspect and the horns, so he quit and Aaron and Mike jumped into a different project because they hated me. They didn’t write any of the material in Hash, that was Seth’s project. They just wanted to do something different.

How did the recording of ‘Si O Si, Que?’ go? Was Elektra supportive? It seemed like there were consistent changes in who was working at each label back then.

Elektra was always supportive of us and the Si O Si Que recording sessions is still the best experience of my professional career. Getting to jam with Bernie Worrell was so fucking cool!

When ‘Si O Si, Que?’ was released, I liked the debut album more. I missed the full horn section and didn’t think the songs were as memorable. The album became a real grower though, and I probably play it more than the debut now. What was the response like to the record?

There are horns on Si O Si Que, just not as much, but I didn’t want to just go and try to make a sequel to the first album, especially with a different crew of musicians, that would have been really cheesy I think. We went out of our way to do things much differently on that album. That probably hurt us, but the scene had changed so much that we were going to be on the outside looking in no matter what. I am really proud of that album because we didn’t really give a fuck what anyone thought and we just did everything 100% the way we wanted to. It was a rare and special opportunity, but of course we wish that it had been more successful.

In my review, I mention ‘Come Tuesday’ as being an obvious choice for the label to release as a single. It’s not a ballad but a soulful rocker with a huge hook. I cannot remember what shows were on Tuesday night back in the day. Was there a specific character or actress you had in mind at the time?

I think the music industry had become adverse to releasing power ballads and even though I agree with you that Come Tuesday is not really that, it was classified that way by the label. That was a big mistake on their part. As far as what the title refers to, that would be Tuesday Weld, who I had a crush on ever since seeing the movie “Pretty Poison”

Is there anything you would have done differently with the album, if you could go back in time?

If I could have somehow gotten it released earlier by inventing a time machine or use the portal gun from Rick and Morty then I would have liked to have done that. The timing was all wrong.

Things went quiet after that record until 13 years later when a new album (‘3D Monkeys in Space’) was released, followed by another album. What brought you guys back together?

Well, I lost interest in the music industry and started pursuing other things. I move away to Florida, then I got a master’s degree and got involved in filmmaking for a while out in California. Eventually I moved back to NY and ran into the old gang and so much time had passed that we didn’t hate each other anymore. Our friend, DJ Bagel, worked at a club on Long Island and he asked us to do a reunion. That led to a bunch of other shows and we decided to start recording and gigging again.

Both of those albums are out of print. About a year ago on Facebook, I brought up the idea of releasing them on bandcamp, iTunes, etc, for download purchases. Are we any closer to making that happen as I still need both of those albums and am sure others do too?

I considered doing that, but the music streaming platforms really suck. I don’t want to participate in that. Bandcamp is ok for downloads and selling CD’s, but it doesn’t really provide the experience that most users want. In a digital age where everything is available immediately, I guess I am revolting against that. There is something cool about having an out of print CD or album.

Last year, we did get a new release with ‘C.O.C.K. in a Box’ being a compilation of unreleased songs and different mixes of previously released songs. How did you decide what songs to put on the album?

That was much harder than I thought it would be. I had to relisten to all of these old tapes and have them transferred and then listen through multiple takes and mixes. Ultimately, I picked what I thought sounded best and tried to release stuff that nobody had ever heard before.

I have seen it mentioned that there may be another release of some sort down the road. Are there any details you can share on that one?

Well prior to the band breaking up again, we had started recording a new album. I am hoping to finish that up and release it.

I know the band is gone. Are you still writing any music?

Yes, always. I jam all the time, mainly with the guys that I played with in Two Ton Turntable. I did a few side projects with those guys.

If you could only have five albums when stuck on a deserted island, what would they be?

Axis Bold As Love – Jimi Hendrix

The Black Album – Prince

Physical Graffiti – Led Zeppelin

Live at Ronnie Scott’s – Jeff Beck

The White Album – The Beatles

In addition to new releases, I have been doing a few retro reviews like I did for ‘Si O Si, Que?’ These have included controversial releases like ‘Endless Nameless’ by the Wildhearts and ones that did not have much success such as ‘Butterfly’ by Earth Eighteen. Is there an album you would nominate that needs to be spotlighted?

Neither Fish Nor Flesh – Terrence Trent D’Arby

Questions by Gerald Stansbury

White Trash – ‘Si O Si, Que?’ (Elektra)

White Trash – ‘Si O Si, Que?’ (Elektra)

For those of us that remember the transition from the 80’s to the 90’s, music went through a dramatic transformation that was not quite as overnight as we might remember. Yes, the video for ‘Smells Like Teen Spirit’ represents the transformation, but the changes were already slowly happening. I would point to bands like Jane’s Addiction who were already releasing ‘Ritual de lo Habitual’ in 1990 as one of the key transition bands that set the stage for what was coming, but they were not the only one. Mother Love Bone had released ‘Shine’ and was due to release their full-length debut ‘Apple’ in March 1990. Soundgarden and Faith No More were touring with Voivod. So-called ‘hair metal’ was still selling albums, but it seemed there were fewer bands in that genre selling huge numbers of albums or breaking into the mainstream. Albums like ‘Rust in Peace’ and ‘Seasons in the Abyss’ were driving the thrash genre while Pantera completed their transformation to the ‘Cowboys from Hell.’ With all the changes taking place, there were bands that just did not fit in with a designated genre, such as the funky hard rocking White Trash. They released their self-titled debut album around the same time as label mates Metallica released their Black Album, which a few people have bought over the years. Their debut also then had all the other key albums released in the late summer/ early fall of 1991- ‘Nevermind,’ ‘Ten,’ ‘Badmotorfinger,’ and the ‘Use Your Illusion’ albums to name a few. Given all that, it was amazing that MTV played White Trash’s video at all, but I remember it getting a decent number of plays. Their debut album became one of my favorite albums as it really stood apart from its peers with things like a full horn section and some rather unique lyrics. Unfortunately, it would be almost three years before this second full-length album would see the light of day, and commercial music would be moving into the monster sales of Green Day and the Offspring.

White Trash also went through an overhaul of members which at the time gave us the promise of two bands with Hash rising from the former White Trash rhythm section. At the time, neither album grabbed me the way the debut had, and they both struggled for spins in the CD player. The horn section was no longer part of White Trash which was one of my favorite aspects of the band. The years have been kind to both albums that followed though. ‘Si O Si, Que?’ may look like a title you would expect from one of the last band’s trying to get a deal on the Sunset Strip, but the music continued to forge a path similar to their debut with a focus on funky hard rock that deserved to be heard on the radio. The song destined for mass radio play was never released as a single, and the band would fade away for awhile before coming back with more albums. This second album though deserves another look through the eyes of today and what happened after it was released.

I mentioned earlier the band’s unique lyrics which has been a staple of the band. It will reveal itself as we run through the songs and song titles, such as opening song ‘6 Toe Sid.’ A funky engaging guitar riff sets the stage for Dave Alvin’s vocals to cut through the mix. There is not much room in the mix as the song quickly gets into a catchy chorus, and there isn’t really a reprieve before we are into the second verse and back to the chorus. The guitar riffs pop out of the speaker. Musically, the bridge and guitar solo are reminiscent of Mother Love Bone on their ‘Shine’ EP. With the amount of vocals in the song, the pace is frenetic. Through the years, the song has connected with me in ways it didn’t when I first heard it all those years ago. The transition into ‘Got to Get Away’ is quick with a quick riff once again giving way to the first verse. The chorus here is more immediate and the funky rhythm is also addictive. I remember when this was new to me this was one of the songs where I really missed the full horn section. It sounds like there are little pieces in places at the very back of the mix.

‘Minor Happiness’ was one of the singles from the album and came out at the end of 1993 if I remember correctly. The pace here is slowed down with Alvin’s vocals getting more of a showcase in the verses where there is a lot less happening. When I first heard this song, I liked it, but I was not blown away by it. Over time, it has become a favorite over the years though with excellent guitar work and the rhythm section laying down a cool groove. If this song had hit at radio, people would have been looking for a song called ‘One Sunny Day’ instead of the actual title though due to the chorus. The band stays in a groove with ‘Young Zombies in Lust.’ Alvin’s screaming vocals in parts here were not something I enjoyed three decades ago but like them much more now. That might be a reflection of all the different kinds of screams and yelling we get today. The guitar solo by Craig LeBlang (I believe) works perfectly. If I was doing A & R back in the day for the band, I would have probably been telling them to make the vocal hook the name of the song, which would have probably just made the band mad. As a listener, I don’t care as the songs have become ingrained in me over the years. They don’t always avoid it though. ‘Senorita’ provides an immediate earworm with the song’s title featured in the chorus. This would have been one of the songs I would have picked as a single, maybe the lead single. LeBlang’s guitar is all over the song. I mentioned the mix earlier and cannot commend Mark Dearnley enough. On paper, it looks like it should be fairly simple with the band being a four piece at this time. The amount of interplay between the members though where every instrument and voice demand to be heard at times is represented in brilliant ways where the ‘wah wah’ from the guitar can still be heard between the bass and the drums. Some of these songs could have sounded like a bowl of mushy soup, but there is clarity and punch to it instead. Production on the majority of the album was handled by the brilliant Daniel Rey.

Eric Brodin’s bass gets the isolation to start on ‘Electric Messiah/ Leather Priest which I believe was the end of side one on the cassette. It has been a while since I played the album on that format though. It may sound like a Zodiac Mindwarp title, but it is another funky groover with a slower pace. At six minutes, the song still feels a bit long without a great hook to really bring the song home. The rapid charge at the end is fun, but it feels like a lot of work every time to get to it. ‘St. Moondog’ rectifies things with a great riff and beat that does not rush itself. Alvin’s vocals are more impactful in the first verse by being a little slower and smoother in tone. He still gets a little out there in parts of the song, but his mix of styles hits perfect. This is another of my favorite songs from the album and would have lent itself to the single treatment back in the day. Speaking of singles, ‘Pig’ was the other single released at the end of 1993 with ‘Minor Happiness.’ It served as the opposite approach of the slower easy going single with crunchy guitar and shouted chorus. I cannot imagine a radio station playing this without the band already establishing a demand from listeners for their songs to be played. I really enjoy the song, but it has slipped compared to other songs here.

I mentioned at the beginning there was a song on here that should have been a monster hit. When I first listened to the album three decades ago, this was my favorite song on the album, and that has never changed. I don’t want to call it a ballad as I see it more of a softer rocker. ‘Come Tuesday’ rolls smoothly out of the speaker with Alvin’s vocals being as smooth as the opening guitar. Subject wise, the song details the relationship between a character on a TV show and the singer. I cannot remember what was on Tuesday nights back in the day when this would have been written. The chorus here is a monster that demands everyone to sing along with it. With the mix of what was on the radio at this time, this song should have been a radio staple that we would probably all hate now from it being overplayed over the years. Dave Barckow’s drum work has been referenced in parts, and this song is no exception. He shows restraint here when needed and also adds in great elements when the song explodes through the guitar solo. ‘Catalepsy’ has always struggled in the aftermath of the previous song. It has grown over the years though through multiple plays. The up-tempo groove and mix again showcases how tight the band is playing together, and the guitar riff is really cool.

Approaching the final trio on the album, ’21 Club’ feels like a funky rocking dance song with a chorus that reminds me a bit of ‘Apple Pie’ from their debut. There are again some horns deep in the mix here, but the focus remains on the guitar, bass, and drums. ‘The Voyeur’ feels like a song trying to break out of a safe. The angular beat containing power while the song feels off kilter at times. The echo at the end fits perfectly. Closer ‘Find Me Somebody’ ends the album on a high point. It is catchy and rocking with a chorus featuring excellent engaging vocals. This is one of the times where the band makes the hook in the song the name of the song. The breakdown at the end of the song allows everyone else a chance to shine before we start back at the beginning and replay the album.

All these years later, White Trash have retained fans even when they are not active. Last year, they released a compilation of unreleased songs and mixes called ‘C.O.C.K. in a Box” that quickly sold out. The name of the band has created some issues on social media platforms and getting people’s accounts restricted. I don’t think anyone could have anticipated that 40 years ago when the band first formed. It is safe to say that the band will not be lining their walls with platinum albums all these years later, but the songs to do it were there on both of their first two albums. Their debut album probably would have done well if it had been released six months sooner before that 41-day window when the albums I mentioned at the top were released. Looking back now, it would have been interesting to see how an Ugly Kid Joe/ White Trash tour would have worked before this album was released. Both bands were outliers who did their own thing (musically and lyrically) and would have made sense to tour together. Both their debut and this album are available from secondhand sellers and the likes of iTunes.

‘Si O Si, Que’ has been waiting on you to purchase it for 31 years.

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Author: Gerald Stansbury              

The Unknowns – ‘Looking From The Outside’ (Bargain Bin Records / Drunken Sailor Records)

The Unknowns – ‘Looking From The Outside’ (Bargain Bin Records / Drunken Sailor Records)

Prior to ‘Looking From The Outside’ Australian punk rockers The Unknowns have released two stonking albums but with this their third they’ve surpassed all expectations and made an absolutely stunning platter of punk rock n roll tunes that harks back to the good old days of The Saints and prime Cosmic Psychos a fair dose of Birdman and of course Da Bruvers from NYC are infused as well but Hey Ho lets go. entwined in this music’s DNA it should be on the radar of every self respecting punk rock aficionado. Oh and the small matter the band consists of Some other Australian band people might have heard of called The Chats who made this record whilst on Smoko.


Garage rock from the early 70s is a big influence on these songs as we’d expect and from the power pop opening of ‘All Grown Up’ its hooligan rock n roll with melodies borrowed from The Boys its an album bursting with a joy of music and togetherness.

There’s an honesty about the music that is both endearing and alluring and its so addictive. ‘None To Me’, ‘Lost Me’ are great riffs with a heap of melody and the latter has some grunt on that Bass that sets the tone like a long lost Birdman song.

‘Hold My Shadow’ is so good big riffs and sounds like it fell off the coolest radio show from the 70s you could wish to hear. ‘I Know You Know’ is mixing it up with the Misfits before Aemon Sandwich leads the vocals on ‘Psychotic’. Trying ot pick a highlight is pretty tough when every song is as good as the last and that was your favourite. ‘Ain’t What You Want’ is pure Boys but if Stiff Little Fingers had written it. much like the title track and album closer Honest John Plain would be proud of this record.


The first single ‘Thunder In My Head’ should be heard everywhere. It’s the summer of The Unknowns for sure. Hell Chuck Berry would be proud of the chugg of ‘Crazy Eyes’ as would the dynamic due that was Lure and Thunders. What a wonderful record that you shouldn’t pass by this summer if you only make one purchase to soundtrack the summer then make it this bad boy you won’t regret it for a second. Go buy The Unknowns before everyone knows. Buy IT!

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Author: Dom Daley

No Sugar – ‘Last Call’ (Sabotage/ La Angonia de Vivir/ Ladies & Ladys)

No Sugar – ‘Last Call’ (Sabotage/ La Angonia de Vivir/ Ladies & Ladys)

The world is blessed with so much new music that great music can slip right through the cracks without us even noticing. ‘Last Call’ was released upon the world in June, and I almost completely missed it. No Sugar comes to us from Germany, but I do not have much additional information about them. I have found an older full-length album from 2019 and an EP from 2018. What I do know is they have released an entertaining and engaging full-length album that will likely hit the sweet spot for a lot of you reading this right now.

Lead song ‘Time Without Money’ begins with a catchy beat that recalls the likes of the Hives or a rocking Royal Republic song. The chorus is catchy without being overbearing, and the final adrenaline rush over the final 30 seconds is done perfectly. ‘Freeway to the Firedome’ reminds me a bit of Frankie and the Studs who released a classic album of the year contender at the start of 2025. For those, like me, who miss Heavy Tiger, check out this song as your entry point. I swear there is another universe that features songs like this, so they are the huge hits they deserve to be. While I try to find a way to make that happen, let’s move on to the punky ‘Burn Both Ends’ where the band does not let up on the high-quality songs. Feeling a bit 77 influenced, the lead vocals fit perfectly and the transition into the guitar solo is sublimely done. The line of “I did it for the money, but I’m still broke” must be relatable for most of us.

‘A Scroll in the Park’ creates some awesome dynamics between the verses and the chorus where the chorus feels like the drums could move a mountain. The spoken word part in the song provides a cool change of pace. Wrapping up the first half of the album ‘We Need New Enemies’ showcases an album that moves from strength to strength. The guitar riffs recalling some action rock air guitar greatness. The mix on the album nestles the vocals right into the music providing a live feel, and it also allows the choruses to become stronger and stronger with each listen.

The flipside starts with the monstrous ‘Reverse Offender’ filled with guitar riffs and a beat demanding your fist go into the air. If you want some sort of comparison, thing back to the Glam Skanks first album mixed with some Gluecifer with excellent lyrics. The tempo continues to surge through ‘Indefinite Doomsday,’ and I cannot help but think how awesome this would all sound live in a dive bar where the sweat is dripping off the walls. ‘Brides of the Night’ slows the tempo slightly and feels like a manifesto. I love the guitar work through here. I could see Joan Jett doing this musically.

The album then throws two curveballs at the end. ‘Deep Fryer Blues’ slows the pace a bit more for a cool groove that feels like it is lifted from the Nuggets era with a different lead vocalist for the first half of the song. This song will get many glasses raised in the live setting. In an album that only reaches around 25 minutes, the band has worked in a great rock n roll album and leaves no clues that we will have an acoustic song with a banjo at the end. ‘No Song’ feels like a live singalong along the lines of the Wildhearts ‘Don’t Worry About Me.’  

No Sugar have delivered ten high quality songs that connect with me and form a great album. This is definitely one to seek out and then tell your friends AND enemies so more people can spread the word. Until someone lets me program a radio show, I will stand here on my soap box letting people know they need to listen to this album and others that deserve to be heard by the masses. No Sugar has served up a sonic delight.

‘Last Call’ is available now Here

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Author: Gerald Stansbury

DESCENDENTS LAUNCH EXTENSIVE REISSUE CAMPAIGN

DESCENDENTS LAUNCH EXTENSIVE REISSUE CAMPAIGN

Out September 19th on LP, CD, and Cassette 

via Org Music

Pre Order Here

Few records in punk history have left as massive a footprint as the Descendents’ Milo Goes to College. The 1982 debut fused the aggression of hardcore with catchy hooks, adolescent angst, and unmistakable personality — helping spark an entire genre now known as pop punk. Its influence remains undeniable over four decades later, earning spots on Rolling Stone’s list of the “40 Greatest Punk Albums of All Time,” Spin’s “50 Most Essential Punk Records,” and Pitchfork’s “200 Best Albums of the 1980s.”

Now, Descendents and Org Music are proud to announce the long-awaited reissue of Milo Goes to College, available September 19th on LP, CD, and cassette.

Reclaimed by the band and lovingly restored, this release marks the beginning of an extensive reissue campaign that will include the band’s foundational albums from their early years, originally released on New Alliance and SST Records. Milo Goes to College leads the way, setting the tone for what’s to come with a variety of formats and exclusive editions.

Among them is a stunning limited “Punk Note” edition featuring alternate packaging by John Yates (Stealworks), inspired by the iconic jazz designs of Reid Miles and Francis Wolff whose work helped define the Blue Note jazz label. This visual reimagining of punk classics continues the aesthetic series that began with Org Music’s Bad Brains reissues. Each “Punk Note” title includes new liner notes by BrooklynVegan senior editor Andrew Sacher and is housed in a deluxe case-wrapped jacket.

The reissue will be available in the following variants:

WIDELY AVAILABLE FORMATS:

  • Black LP
  • “Grey Matter” LP
  • Punk Note Edition (black vinyl)
  • CD
  • Cassette

LIMITED/EXCLUSIVE VARIANTS:

  • Punk Note Edition (silver vinyl) — Org Music exclusive
  • “Suspended Gold” LP — Descendents Exclusive 
  • Pink LP — Zia Records exclusive
  • Smoke LP — Rough Trade exclusive
  • “Statue of Liberty” LP — Going Underground Records & Seasick Records exclusive
  • Black LP with Exclusive Obi Strip — Celebrated Summer Records
  • “Coffee” Cassette — Tapehead City exclusive

More classics are on the way. The reissue campaign will continue with I Don’t Want to Grow Up, Enjoy!, ALL, Bonus Fat, and more — each reissued under the band’s own control and vision.

This project isn’t just about nostalgia — it’s about preservation, intention, and giving a new generation access to one of punk’s most influential catalogs.

Pre-orders and variant details available at:

https://orgmusic.com/collections/descendents.

and

https://bio.to/descendents

Watch the teaser video: https://www.youtube.com/watch?v=2T6aiGUfeFs

Milo Aukerman and Bill Stevenson of Descendents are the featured guests on the latest episode of The Vinyl Guide podcast. They dive into the legacy of Milo Goes to College and what it means to revisit such an iconic chapter in punk history. Listen HERE.

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Jim Bob – ‘Automatic’ / ‘Stick’ (Cherry Red)

Jim Bob – ‘Automatic’ / ‘Stick’ (Cherry Red)

Wow, can 2025 actually get any better – Well a new album from the great Jim Bob of Carter Unstoppable Sex Machine fame – is always something to cherish but up comes not only one new album but TWO brand new long players from undoubtedly the UK’s most underrated singer songwriter. With the release of Automatic and Stick, we are in indebted to Jim and his wonderful record company Cherry Red.

As always Jim Bob has been on somewhat of a golden era and the release of these two albums, his 13th + 14th respectively, show that if anything Mr Bob is riding the wave of a creative peak that shows no sign of slowing down anytime soon. First up is the bold yet mellow Automatic, which is followed up by the rockier Stick but no doubt about it – this isn’t a double album but two great albums both with 11 songs that deserve their time in the spotlight!

Either way ‘Automatic’ gets straight to the point with the opener and first single ‘Victoria Knits The Wars’ and doesn’t let up for a moment. All the ways to the last notes of ‘Our Forever Home’. Jim Bob takes us on a roller coaster ride of what it is to be living in 2025. 

One thing that I have always admired about James Robert Morrison (AKA Jim Bob) is his ability to turn even the most mundane story about the banality of living in the UK into a glorious pop/rock song that speaks to everyone and gives the listener a musical way into someone else’s life, yet most people will know someone like this, especially no more so in ‘Frank’s Bought A Drone’.

This happens again on the track ‘Baby On Board’ which regales us about an everyday tale about a day which features a commute and a fight and even Google Maps along with so much more, that you can not believe it hadn’t been sung about before.

However, with the Stick album, Jim Bob has given us a short sharp shock album that is brilliant and even though it features Jim Bob singing about even more everyday routines it’s the glorious ability he has to relate to pulse of the nation – for in ‘I Go To The Park’ he has written about easily most of the population and their need to just go for a walk and clear their head. Yet in doing so – it comes in the form of a pop-tastic song that will no doubt be a future earworm that you will be more than happy stuck with.

One of the more surprising songs on ‘Stick’ is ‘Lovers Rock’, which is a perfect example of the genius that is Jim Bob, which is a love story all wrapped up in a snarling punk rock serenade. Power Punk Pop perfection all in just a shade over 4 minutes! And we haven’t even mentioned the single from the album yet – which in ‘Every Day’s A Discotheque’ highlights the brilliance of Jim Bob in just shy of 3 minutes! 

Using an adage that has been utilised to death but in this case nothing truer can be said – these two albums are all killer and no filler which in 22 songs is practically unheard of. Just do yourself a favour and buy/pre-order these albums before they are released next month.

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Author: Dave Prince

Diamond Head – ‘Live and Electric’ (Silver Lining Music)

Diamond Head – ‘Live and Electric’ (Silver Lining Music)

NWOBHM legends Diamond Head have been part of the metal landscape for almost 50 years. The Stourbridge metallers have been the inspiration and influence of many a metal band that came in their wake. We all know the story of Lars Ulrich from Metallica being such a fan that he flew from the US as a teenager to see the band in the UK. Lars ended up befriending the band and he became part of the band’s entourage. This was a major factor in the formation of his own band. Metallica famously covered Diamond Head songs from day one and helped a new generation of metal maniacs discover Diamond Head for themselves.

This live album was recorded while supporting Saxon on their UK tour in 2022. I was at the Cardiff show and thought the band played a blinder. I also saw them at the Steelhouse festival that year and the ground was literally shaking with the low end. Very impressive.

We get a good mix of tracks that were recorded throughout the tour. The band sound energized and as relevant as ever here. You can feel the passion being put into the performances. Frontman Rasmus Bom Andersen sounds phenomenal here. His vocals bring an urgency to the band that works throughout their entire catalogue, he’s also a natural at whipping up the crowd.

Guitarist Brian Tatler needs no introduction, he’s a legend in the metal world and has now taken up residency in Saxon after founding member Paul Quinn stepped down. Tatler was a revelation at the Cardiff show, flying up and down the fretboard with ease and looking the part as the metal legend he is. The whole band sound incredible here, Paul Gaskin on bass, Andy “Abbz” Abberley, and Karl Wilcox on drums have an obvious connection and chemistry.

We get all the classics plus some newer material in the form of Belly of the Beast. The Prince, It’s Electric, Helpless, and Am I Evil? all sound reinvigorated and more powerful than ever.

This is a must for any Diamond Head fan. The production is crystal clear and punchy thanks to Jay Shredders mix. Get those horns in the air. Am I Evil? Yes, I am.

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Author: Kenny Kendrick

Mass Deception – ‘Resurrections’ (Gruesome Records)

Mass Deception – ‘Resurrections’ (Gruesome Records)

Dutch thrashers Mass Deception have been around since 2015 and have released three albums full of riffage. 2025 sees the release of their latest effort: Resurrections.

The album takes me back to a glorious time in heavy metal history, the late ‘80s. Think Flotsam & Jetsam, Testament, Sacred Reich, Sepultura, peak Metallica, and a little bit of Among the Living era Anthrax and you get an idea of what Resurrections sounds like. We get some stupendous riffs, mosh parts a plenty, and superb performances. Opener Gain of Function hits like a ton of bricks, no messing around, just full-on thrash loveliness. The breakdown riff in the middle part of the song is sublime. It had me pulling that thrash gurning face.

Selling Souls! Buying Lies! has a feel of classic Annihilator with its staccato riffs and double bass drums. Menticide starts with a melodic feel before we get more huge riffs. The production of the album is perfect, and it’s refreshing to hear the instruments sound real. No processed drums (I hate that!) and the album really does sound like it’s from the ‘80s.

Metropolis is a little interlude that could be a John Carpenter written theme from one of his films. Fantastic! 1984 kicks us back into thrasher territory with some fantastic twin guitar work from Waltmans and Banziger. Drummer Sanders plays a blinder throughout the album, his double kick drums blaze through the tracks.

The Road to Hell Leads to Rome has a more traditional heavy metal feel, with nods towards classic Judas Priest. Lyrics about religious hypocrisy are the order of the day here. Saturn is another moody instrumental piece, Ruins of Dominion highlights vocalist John Klaus, his vocal style fits perfectly in the framework of Mass Deception.

Blue Flame of Anger shows us a more melodic aspect of the band. We get some Helloween style guitar melodies as well as more Priest influenced metal. More superb drum work here from drummer Sanders. My favourite track from the album is V, superb chunky riffs, a short instrumental passage, but it’s so well done.

Resurrections is a fantastic listen, really well written songs executed in style. Get your ears around this, you won’t be sorry.

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Author: Kenny Kendrick

City Kidds – ‘South Glam Roxx’ (Steelheart Records)

City Kidds – ‘South Glam Roxx’ (Steelheart Records)

For some of the old-time glammies out there, especially those from the boulevard of broken eyeliner pencils and lipsticks – the arrival of this CD is a welcome time machine to when Bogiez ruled the rock scene of Cardiff and in general South Wales. 

Lovingly put together by the Kidds’ bass player extraordinaire Stevie C. Bright – ‘South Glam Roxx’ is the long-awaited official release of the various recordings, as part of ‘The Lost UK Jewels’ collectors series. The songs here feature a plethora of South Wales’ finest rockers! These include Jamie Kall, Josie St John, Kane, Kelly Valentine, Kerry Wild, Stevie ‘C’ Bright, Steve Marie, Johnny Evermore, Mick Vallace, TigerTailz drummer Matt Blakout and Ian Danter. As you can see there was something of a revolving door on the band’s line-up over the years.

Whilst the band are forever etched as the quintessential – should have been bigger or even came out at the wrong time – band. What this release finally achieves is that the potential of the City Kidds outweighs any doubt that this band actually had the songs to back up the outrageous image.

Many of the recordings here have been available on various unofficial bootlegs – it is great to finally have them all in one place and given the aural updating that truly highlights the magic of those original recordings, which were made in the late ‘80s and early ‘90. So to have them sound this great after over 30 years is truly remarkable and a testament to the music and songwriting.

Anyway, let’s get down to the music, as that is the reason we’re all here for. Starting the CD is the two tracks that made up their only other official CD release, and that’s the bubblegum pop whammy of ‘Generation Love’ and ‘Tonight’. I remember actually buying this CD single back in 1992 from Eccentrix in Cardiff, where it used to be advertised by the door alongside the shop’s usual merchandise of PVC and leather chaps. Also, I am a sucker for an over-the-top glam cover and this delivered on all accounts. So hearing this again after all these years was a pure nostalgia trip down the glam memory lane. Of the two songs, Generation Love has fared better, but they both are fantastic in their own right. 

After that kick-ass start, we go back to the band’s 1989 ‘Dressed To Kill’ demo and the demo’s title track and ‘Street Tease’. Which, back in the day, was hailed by the late Kelv Hellrazer as something really special. Kelv is also singled out guitarist Kelly Valentine – a possible new glam guitar god. Much praise from the glam pioneer.

Following on from there is the three songs that made up the Atomic demo from 1990. These songs – ‘Out For The Count’, Hit ‘N’ Run’ and ‘Atomic’, continue where the previous demo left off. Featuring new singer Josh Kane the demo took the promise of the first one and raised the bar again. 

The next batch of songs were recorded at the famous Rockfield Studios in 1992 and again show a new maturity in the songwriting amongst ‘Broken Glass Stare’, Nowhere’ and ‘Perfect 10’. It’s these songs that show how much promise the band were in control of and also highlight just how unfair the music business really is. For if these songs were released only a couple of years earlier, who knows where the Kidds or as they later became, Sons of God would be right now.

The last three bonus tracks are for me the hidden gems – with the band winning a Red Dragon FM Battle of the Bands contest back in 1988, the songs that were played are now released for the very first time – namely ‘Edge of the Night’ and ‘Lost Without your Love’. Both are clearly of their time and show a band in their infancy, but the potential was always there to be heard.

So basically, if you love the late ‘80s glam scene and the likes of Poison, TigerTailz, Tuff etc you need this in your collection. Be quick, though as there are only 500 copies being made. Not only that, in buying the CD you will be helping to raise money for Cancer Research UK and comes complete with liner notes by Rob Evans and Stevie ‘C’ Bright as well.

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Author: Dave Prince

The Kowalskis – ’30 Years Of Goofballs’ (Rum Bar Records)

The Kowalskis – ’30 Years Of Goofballs’ (Rum Bar Records)

Now there’s a blast from the past, the God damn Motherfuckin Kowalskis are in the house! Rum Bar Records have the wonderful nowse to release an expanded retro ride from The Kowalskis in the shape of ’30 Years Of Goofballs’. I came across Kitty Kowalski many moons ago as part of the NYC punk n roll scene and her name was always linked with the likes of the continental and Coney Island High and of course for releasing some fantastic punk rock n roll music. The music is a simple enough idea of no nonsense rock n roll played on 11 whilst chewing out the rhythm on your bubblegum. You know the drill a steady diet of D Gen, The Ramones and all other good ole Noo Yawk DNA. ‘First Date’ is the first war cry on this epic 25 track release and what a joyful rock n rolla coaster ride. Melodies and hooks galore from the mid 90s still sound as fresh as an ice cold beer and twice the fun. ‘Depression Overdrive’, ‘Sunny Sunday Hangover’, ‘Meanest Guy’ are all accounted for and led from the front by Kitty and her sugar sweet vocals and bad girl riffola. ‘Detroit 442’ hangs a cool tail on what paved the way for female fronted sleazy punk n roll outta the big apple.

That debut album still sounds vital and packed with top tunes but its the inclusion on this retrospective of the unreleased material, all re-mastered. ‘Who doesn’t love the song for Dee Dee Ramone titled ‘Oh Dee Dee’ if it doesn’t touch your heart then you don’t have one and you can’t be friends with me. Exactly how a retro release should be constructed. It’s lovingly put together and shows what passion and a talent for writing songs can do. Its a blast of summer sunshine in a time when joy and blissful rock n roll is much needed. Hell, their take on the Dolls ‘Human Being’ is a blast and exactly how its meant to be done, sleazy and dripping with attitude, these cats just get it.

Buy this album and turn it up and if this your first date with Kitty and the gang then your welcome if you’ve been here before and this is a welcome reminder how bloody good The Kowalskis were then you’re also welcome. Lets sit around the pool crack open some beers and turn up the stereo and lets get this party started, when The Kowalskis say ‘100% Fun’ they bloody well mean it so lets go, the Kowalskis are in da house! Power Poppin punk rock at its finest.

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Author: Dom Daley