Paul Ronney Angel
from The Urban Voodoo Machine
Celebrates the Anniversary of
LIVE IN LOCKDOWN – live stream
Sat 20th March 8pm (GMT)
Yes Sisters and Brothers, it’s been a whole year since our Prime Minister BoJo made his “Stay At Home” announcement! One day later The Urban Voodoo Machine main man Paul-Ronney Angel (P-R) took to the stage in his East London living room with fellow musician and partner Ane Angel to entertain a locked down community starved of live music.
The show was a storming success and a weekly engagement was born. Throughout the year P-R and Ane have delivered a bourbon-soaked foot stomper of a show every Saturday night featuring Urban Voodoo classics and freshly written tunes making comment on the pandemic. Social distancing permitting, guests have been invited to perform, including Rat Scabies of The Damned, widow and backing singer of James Brown, Tomirae Brown, Jim Jones (Jim Jones Revue) and various members of The Urban Voodoo Machine themselves over the year.
Be sure to tune into The Urban Voodoo Machine’s facebook page this coming Saturday at 8pm and every Saturday till this pandemic’s beaten (Anniversary show / Episode 53 is Sat 20th Mar) – each week is special and who knows what’ll happen!
Other dates for the diary include Paul-Ronney Angel’s debut solo album ‘London Texas Lockdown’ out in June and The Urban Voodoo Machine’s new studio album ‘$nake 0i£ €ngine’ released September.
Ricky Warwick is one of those artists that we all know from one of his many guises in the Rock ‘N Roll world. For me, Ricky will always be the growling, tattooed frontman of The Almighty, a band I saw live many times and I was a big fan of their first three albums. They established themselves in the late eighties/early nineties and were very successful. They toured with such luminaries as Motorhead, Megadeth, The Ramones, etc, as well as many headline tours of their own.
After the Almighty ceased to be, Ricky could have easily sat on his laurels but he began a solo career in 2003 with his first solo effort – ‘Tattoos & Alibis’ and has since gone on to release a further seven (eight including this latest album) solo albums. In 2010 Ricky got a call from Thin Lizzy’s Scott Gorham who was putting together a reformed version of the band. Ricky fronted Thin Lizzy in a live setting for a few years and the band wanted to start writing new material. Out of respect for the Thin Lizzy name, they released new material under the Black Star Riders moniker, with their acclaimed debut album ‘All Hell Breaks Loose’. BSR has since released another three albums and are an established band in their own right.
With his latest solo album, Ricky drafted in Keith Nelson (Ex Buckcherry) to produce.
“Ricky is a true Rock-n-Roll soul…he’s got incredible stories to tell and a unique way of telling them. It’s been an honour to be asked to partner and contribute to this record.” (Keith Nelson).
Ricky has brought in his old friend Robert Crane (Black Star Riders) on bass and Xavier Muriel (Ex – Buckcherry) on drums. With top-notch performances all around they have created a strong body of work with some fantastic songwriting. Catchy, short, and to the point, this is a well-rounded collection of songs that will be going around in your mind long after listening.
With guest spots from Joe Elliot (Def Leppard), Andy Taylor (Duran Duran), Luke Morley (Thunder), and Dizzy Reed (Guns N Roses) the album just oozes quality.
The album opens with the title track and it instantly sets the tone for the rest of the album. An anthem about chasing your dreams and losing friends along the journey of life, it’s one of those driving with the top down sing along tunes that everyone can relate to. With Joe Elliot contributing backing vocals it’s a fantastic introduction to the album.
‘You Don’t Love Me’ is straight to the point, a one-sided relationship that isn’t working is the theme, more fantastic performances here with a blinding guitar solo from Thunder’s Luke Morley.
‘I’d Rather Be Hit’ is next up, an up-tempo track with lyrical content around how the world is in such disarray politically. (You’re not wrong there Ricky), Duran’s Andy Taylor contributes with a guitar solo that has his distinct style all over it.
‘Gunslinger’ is a cover of a Mink Deville track that Ricky has wanted to cover for some time. He does a great job, if you’re not tapping your foot or nodding your head along to this then you’d better check your pulse! Brilliant. ‘Never Corner A Rat’ has an early Therapy? Feel to it, chugging rhythms and pounding drums, and rasping vocals. Another stand out track.
The next song ‘Time Don’t Seem to Matter’ is a revelation. Ricky’s youngest daughter Pepper joins her father on vocals for a deeply personal and moving track. The lyrics around being away from family and the difficulty of being a musician and father are explored here. A real stand out moment and lyrical content that every father will relate to. The version used on the album is a demo. Ricky tried to re-record the song, but he felt that the demo had the best vibe.
We get back on familiar ground with ‘Fighting Heart’ a track about sticking to your guns and not compromising yourself for others. A guitar melody that sticks in your head is the foundation of the song with some powerful drumming from Muriel.
Dizzy Reed adds keyboards to ‘I Don’t Feel at Home’, a mid-paced grower that deals with the horrors of drug addiction and the shame it brings. ‘Still Alive’ kicks off with some great slide guitar from producer Nelson and the song is based around the film ‘Hell or High Water’, another great driving track. ‘Clown of Misery’ is a demo that Ricky sang into his phone and sent to producer Keith Nelson. A very simple melody strummed aimlessly on an acoustic guitar works wonderfully well.
The final track ‘You’re My Rock ‘N Roll’ has an up-tempo, almost Wildhearts feel to it and is a fantastically bombastic end to the album. The 2CD digipak version of the album also has a bonus disc – ‘Stairwell Troubadour’ with Ricky performing cover versions of an eclectic mix of songs such as: ‘Summertime Blues’ (Eddie Cochran), ‘Wrathchild’ (Iron Maiden) a version of ‘Jesus Loves You…But I Don’t’ by his old band The Almighty and erm.. ‘Oops I Did It Again (Britney Spears)! They all work wonderfully well played acoustically.
Ricky Warwick has proved yet again that he’s no one trick pony. A fantastic album from start to finish that sits well with his extensive body of work.
New York New York so good they named it twice. when I think of the big apple I think of Travis Bickle, the Statue of Liberty, Empire State Building, CBGB, The Ramones, Dictators, The Dolls, Johnny Thunders, Warriors, Central Park, and a stack of bullshit-free rock and rollers who kick out the jams mother fuckers!
Twiggy Branches are chewing out the rhythm down to rock away beach with their sloppy, garage, punk rock n roll slice of the big apple with a dash of Jayne County and more than a slug of the Dictators going on. From the hectic opening of ‘The Patient Twiggy Branches’ it’s glamourous with a hint of danger and when you get into the dark and dangerous ‘Am I Going Sane?’ with the lovely rumbling bass that walks all over the lower east side. for Gawds sake it’s got cowbell and I’m loving it a little more with every play.
‘I Was Mary Shelley In A Past Life’ is a thunderous attitude adjusting Rock and Roll that makes me want to throw my arms in the air and hail that yes I’m a believer and let the Rock and Roll rain down on me. ‘Runt Of The Litter’ is some 70s’ inspired glam that has some Alice Cooper meets Bowie or Mott The Hoople going on hell Bolan would boogie to this.
I think my favourite on the album is the bass heavy ‘Therapeutic Drag’ as it thunders out of the speakers flexing its bicep like its the cock of the walk. A great mix of old school punk rock and dirty glam. Throwing some David Johansen harmonica into the mix on ‘Be My Babylon’ is excellent. Christopher Pravdica who blows the gob iron also hits the bass with aplomb and elevates this album from the pack with a great balance. ‘Juxtaparanoisolation’ is a brooding heaving beast of a track that offers something different.
To sign off this album it’s a classic eight-track just like the good old days, ‘Dr Dealer’ delivers the magic potion that is needed every now and again and an album that opens with a corker of a song seems fitting that it should end with a punch to the throat (musically of course) that just about caps off a really impressive debut album. Check it out or miss out.
Dead Furies came to my attention a few years ago when they released their second album ‘Rock City a Go Go’ which utilized a font reminiscent of the Hellacopters. With their 4th album, the band continue to expand their sound while maintaining the heart of the band. This finds them continuing to turn the corner into a classic rock band with the tempos a little slower. That may turn a few people away, but the band has continued to develop as songwriters, and the diversity makes it a rewarding listen without the band going through the motions of repeating themselves. The album title even gives a nice nod of the hat to the Rolling Stones. With all that in mind, let’s get into what makes ‘Midnight Ramble’ the next excellent release for the Dead Furies.
Kicking off with ‘Let’s Get Loaded’ really works for the album as the guitar and tempo feel a bit restrained and set up an engaging and catchy chorus. Ardo Fury (vocals/ guitars) has a really distinct voice that makes the band immediately identifiable for me. Increasing the tempo with ‘Follow You,’ the band channels some great 70’s style hard rock with a straight forward chorus that gives way back to the catchy riff that starts the song. The vocals in the verses are sang over just the bass (Robert Fury) and drums (Erik Fury). ‘Mesozoic Rock’ continues the classic rock attack with a chorus that kind of goes back to the stone age in its simplicity. I personally love how the tempo increases after the second chorus and allows Robert’s bass to get some time to shine during the break.
Approaching the middle of the album, the band is firing on all cylinders with ‘Gold Digger.’ The musical intro gives plenty of space in the mix which sets up the first verse where Ardo takes control. Musically, this is one where I can feel the band channeling great bits from the likes of Jetboy and L.A. Guns. Closing out the first half of the album is the hard rocking ‘9 to 5’ where I am reminded of the likes of late 80’s L.A. band the Little Kings crossed with a bit of punk n roll.
Flipping the figurative vinyl over to side b, we are presented with the uniquely titled ‘Candlewax on a 7.’’ The band slow it back down with the focus on a groove that works extremely well. The breakdown in the song works its way into the guitar solo. At over four and a half minutes, the band doesn’t rush anything here and is more powerful because of it. ‘She Said, She Said’ comes to life sounding like Johnny Thunders crossed with a bit of the U.K. Subs. The worst thing about this song is that it is only about two minutes long. In these early listens, this one might be my favorite across the album. It gives way to the acoustic ‘Lady Jane’ that again reminds me of Thunders with touches of the Velvet Underground. It serves as a reminder that the Furies are really settled into the classic rock stylings of the 70’s here with this song sounding different from anything they have done.
Getting into the end of the album, ‘Please Tell Me Now’ gets us back into full rock mode with the electric guitars coming to life. This one reminds me more of their past albums with a slightly cleaner production. ‘Red Wine & Alone Time’ serves as a the perfect six minute finale as it truly takes us on a journey from its slower beat at the start to the noisy end. It serves as another great example of a band that continues to naturally evolve their sound. The groove here ends the album on an absolute high.
The Dead Furies are now four albums into a career where they have continued an ongoing evolution and given us fans something new to enjoy with every album. Ardo and I chatted about some of the influences for this album after I wrote this review, and I have to say they are not obvious as those influences sometimes come across through subtle nuances. Right now, I am enjoying this album on a whole more than ‘Stay Gold’ even if there isn’t a song here that connects with me quite as much as ‘Cowboys and Indians’ from that album.
Right. let’s deal with the rather obvious elephant in the room first and foremost shall we? Because if this really were a 30th Anniversary celebration of The Black Crowes awesome ‘Shake Your Money Maker’ debut album, this release should have happened in February 2020, not 2021. However, given what has been going on globally these past 12 months I’m more than prepared to let that not so insignificant detail slide, for now.
However, what I’m not about to let slide is the fact that almost a month before the February 26th 2021 street date of this release, I suddenly get an email from Universal telling me that my pre-order of the Super Deluxe 4xLP box set has somehow been pushed back to 19th March 2021 with no further explanation offered. That I’m sure you will agree is not exactly an ideal situation, not for the band or most importantly their fans, who will have already shelled out over £75 for one of these sets. Then there’s also the mix-up on a certain well-known online retailing platform regarding the CD Deluxe Edition and the CD Softpack Edition (both of which did actually make the February 26th release date) that has also left some other fans less than happy.
Oops!
So, with all this in mind, what I’m actually reviewing here is a stream of the audio from the Super Deluxe set, for the packaging and all the extras that come with it you’ll just have to cast an eye over the attached promotional photograph and hope that the finished sets do actually still contain the same goodies (they are set to include a reproduction of an early Mr. Crowe’s Garden show flyer, setlist and tour laminate, a 4″ Crowes patch plus a 20-page book with liner notes by David Fricke) by the time Universal get around to shipping them to us.
But what about the music I hear you cry? Well, of course kicking this set off in true style we have the five times platinum debut studio record from the Georgia based rockers. Originally released in February 1990 and here remastered by George Drakoulias. To be honest though to my ears I couldn’t really detect anything significantly new or different listening once again to the 11 tracks that make up the album, but then as I’ve always loved the way the original record sounded, if there are actually any tweaks or corrections made then it’s certainly nothing on the scale of those say done by Giles Martin for the Super Deluxe Beatles reissues. What should never be in question here though, is just how truly special a debut album The Black Crowes produced for their then new label Def American. You really would have to be dead from the neck up not to be in some way moved by the likes of ‘Sister Luck’, ‘She Talks To Angels’ and ‘Seeing Things’ and dead from the waist down if you don’t immediately feel the need to shake a tail feather of two when the likes of ‘Twice As Hard’, ‘Stare It Cold’ or ‘Think n’ Thin’ come powering out of your speakers. This really is the type of music that feather haircuts, flowery shirts and Chelsea boots were all invented for, as the band themselves just oozed cool from the cover through to the aforementioned songs themselves.
Next up, and probably the real reason any Black Crowes fan will be chomping at the bit to get their hands on this set (whichever of the six different versions you do eventually decide to buy) we have the first of the additional material included via a set of tunes brought together under the collective banner of ‘More Money Maker: Unreleased Songs and B-Sides’. Featuring ten tracks in total, and boasting three never-before-heard studio recordings plus two unreleased demos from the band’s early incarnation as Mr. Crowe’s Garden this proves to be an interesting delve into the ‘Shake Your Money Maker’ archive with my own person highlights being ‘Charming Mess’ (which sounds like a possible Rod Stewart lawsuit just waiting to happen) along with a faithful (and most excellent) rendition of Humble Pie’s ‘Thirty Days In the Hole’. However, if I’m truly honest here, it’s the previously unreleased concert recorded in their hometown of Atlanta, in December 1990 that makes up the final disc/s of this set that really is the golden ticket hidden within the 2 hours and 45 minutes of music contained within this set.
For anyone who was lucky enough to witness those early nineties Crowes live shows (I still have the physical and mental scars from their frenetic London Astoria support slot with The Dogs D’Amour) this live set is truly what the band were all about back then. This is REAL rock ‘n’ roll baby, complete with mandatory low-slung guitars and cigarettes in the corner of the mouth, and by God do they sound magnificent across the thirteen songs contained here.
From the breakneck opener of ‘Thick n Thin’ through to the swaggering gig closer ‘Jealous Again’ this really is essential stuff and the jam band the Crowes would soon become is thankfully at this point nothing but a hazy half idea hidden away somewhere within the Robinson’s brains. It’s something that is kind of alluded to during ‘Words You Throw Away’ which crops up towards the end of this set as it does clock in at thirteen minutes plus. However, there is real fun to be had here, simply by playing “Spot The Future Crowes Song” as this epic must contain at least three other song ideas that would eventually make it onto a future Crowes’ releases. Good luck figuring them out!
The Black Crowes live in 1990 simply took no prisoners and were clearly heading for fame and fortune as the riotous crowd response during a glorious ‘Hard To Handle’ proves and whilst this debut is a stunner, there was (I’m sure you’ll agree) an even better record (or two) to come from the band in the years that immediately followed.
This Super Deluxe Edition then is a wonderful musical snapshot of early Black Crowes, and pre-egos its great to be able to once again listen to Chris, Rich, Johnny, Steve and Jeff fully locked in and working together as a solid cohesive unit. Ideally, I would have liked to have also seen something like the June 1990 Pinkpop Festival live video included here as a DVD (I’m sure the Robinson’s have many live videos in their archive) along with the promo videos and some TV interviews/live sessions (like the two song MTV Unplugged mini-set) to truly bring to life some of the visual elements of the band I mention above, plus you then truly get to see then the buzz that passed between the band and their audience. As it is though ‘Shake Your Money Maker’ totally gets a whole new lease of life with this box set, and I look forward to finally receiving it, hopefully very soon.
Seeing as today we cover the Box set of the debut classic from The Black Crowes we thought let’s do this and showcase when they were a vibrant new Rock and Roll band
Welcome one and all as we crack open the March batch of 7″ singles and as you’ll see we have a variety of bands and some superb singles for your delectation. We welcome some old favourites and of course a format we always welcome the good old split with this months split coming from a pair of bands we love Bitch Queens and The Drippers. We also welcome plenty of debutants to our exclusive club and hope you find something you can enjoy and support… hit it…
Johnny Thunders – ‘Chinese Rocks’ (Golden Robot Records/Die Laughing Records) All Johnny ever wanted to do was make the kids dance and he sure as hell did that. Now a lot of his live shows were during the classic age of the bootleg and this bad boy is no exception the sound quality is not the best as you can imagine but it does capture the energy of his shows. Taken from the upcoming live album; ‘Cosa Nostra: Live At The Mudd Club 1983 Gothenburg’. which will be available as limited edition vinyl and on all streaming platforms. We can argue over the merits of another release of a bootleg but hell, I miss this guy like no other performer I ever bought a record of, so, as one of those sad completist types I’ll be clicking the link. They just don’t make em like Johnny anymore untouchable! Pre-Order/SaveHERE
Bitch Queens / The Drippers – Split (Lux Noise Records) Kicking off this month’s Singles Club is a right pair of bangers. Our favourite Basel boys are back with fellow European rockers the Drippers. ‘Ignorance is bliss’ they say but if you ignore this then you’re ignoring the opportunity to get involved with the latest release from 7″ from one of the best loud Rock and Roll bands who just love to knock out singles as often as possible.
This is another riot ride of adrenalin with a solid melody and some lovely wah! and duelling guitars Get on it here kids you won’t regret it! If that wasn’t enough to convince you then flip it over and get an earful of The Drippers who are the ‘Beach Kings’ and channelling their best Motorhead they hurtle off on a rapid drumbeat and more Wah! than you deserve. Its a corker of a tune to be fair and a worthy companion for the mighty Bitch Queens split repertoire.
Rich Ragany & The Digressions – ‘Marionette’ (Self Release) Like a rush of adrenaline the first song from the brand new Rich Ragany album is birthed into the ether and ‘Marionette’ is uplifting and boundless with heartfelt energy as the band head into the difficult second album but on this evidence, it’s not difficult at all. Subtle melodies clash with some fantastic duelling guitars throughout. The sound is big and makes you wanna get up and move as you search for the tennis racket and hairbrush when you’re alone in the house to join the Digressions for the solo and chorus. Get on it kids its a grower. Bandcamp
Marc Ribler – ‘Shattered’ (Wicked Cool Records) Like a lazy Sunday morning bit of Rock and Roll with a gentle chorus and melody, some nice slide guitar playing. ITs got that swirling organ laying down underneath the beat as the song jogs on like a shot of Tom Petty. The B side is even more laid back with eastern flavours from the New Jersey man as he kicks back. Bandcamp
Wheelz – ‘Twenty Twenty’ (No Front Teeth) “No Coast” punk rock outta the Midwest. Four new sloppy ’n’ snotty anthems in the vein of UK ’77 meets American Punk like a blend of The Briefs, Spent Idols, Toy Dolls and Partisans. Sure take a look at the picture, drink it in because they sound exactly like you want them to sound. Its a perfect snotty sound capsule from the late 70s’ with modern production. ‘Politicians’ is a mash-up of ‘The Last Time’ (Stiv would approve) and mid-period Rancid. Buy UK Here / Facebook US: Boulevardtrashpunk.com Hipsters can get it on Cassette: EU: Tapeordie.bigcartel.com
Dead Meat – (No Front Teeth) The second single from London’s snotty KBD punks Dead Meat. Another four killer cuts Featuring members of Kool and the Gangbangers, The Cavemen and the Speedways. The regular edition is spray paint on genuine leather… yes it smells like a new sofa, genuine dead meat… loads of different colours of leather chosen at random with each order (mine was a lovely pink). Anyway, don’t let the waffle distract you Dead Meat are four noisy fuckers who could wake the dead (Meat) with their raw punk rock. Buy Here from the excellent NFT label direct or the bands Bandcamp page Here. ‘Through The Heart’ starts off like the bastard son of Motorhead but descends into a sloppy tasty slab of punk rock. It’s like the partisans never happened but with added gob and glitter. Hold onto your knickers boys because ‘Hanging On The Weekend’ is a belter. Snotty rapid punk rock with the sloppiest solo ever before falling into a gluey mess with ‘Son Of Sam’ about the NYC killer from the 70s. ‘Don’t blink or you’ll miss em as this four-track EP is brought to a stunning halt with ‘Nuffin New (For Trash Like You)’ – Punk as fuck and you should be on top of this before they’re all gone!
Black River Delta – ‘Burning And Burning’ (Sofaburn Records) FacebookHailing from Sweden Black River Delta delivers a gritty bluesy rock and roll sound but avoid many of the cliches and pitfalls and deliver a pretty fresh take. ‘Burning And Burning’ is an impressive introduction if you don’t believe us check out the video.
Local Drags – ‘Think Straight’ (Self Release) Sure we’ve raved about previous offerings from Local Drags why wouldn’t we the guy writes great songs. This new track from Springfield’s favourite rocker does what he does best and that’s writing feel-good rocked up power pop and boy does he does it well. ‘Think Straight’ is an indication of what we can expect from the new album. as we look forward to the full-length LP ‘Keep Me Glued’ this will do. Bandcamp
The Stools – ‘Feelin Fine’ (Drunken Sailor) Crash bang wallop! we’re off lo-fi garage punk rock that would get a pit going in a morgue as ‘Can’t Feel Good’ is an attack on your senses and as rapid and fucked up as possible. What a fantastic way to introduce yourselves. Hang on ‘Half-Track Mind’ has the brown noise inducing bass rumble before soaring into the stratosphere. You’ll be fist-pumping and chanting along before you know it “Half Track Mind” indeed.
If you’re waiting for the love ballad then you’re listening to the wrong record but if you want raw in your face blues-infused punk rock then welcome. ‘Rockpile’ is a slower more groove-based song with some cool maracas for mixing it up I’m sure. Taking this sucker home ‘Eyeball Crush’ is like a punk rock fuck up garage blues hand jive – about as subtle as a flying mallet but all together thoroughly enjoyable. pick it up here
Continental Lovers – ‘Doesn’t Matter At All’ (Self Release) Another new song from the mind of former Breakdowns main man sees the catchy punch of ‘Doesn’t Matter At All’ as Joe unleashes a subtle melody that burrows into your ear and works its way into your head and as all good pop songs do start scratching its name into your memory. Joe mixes up his love of bands like Cheap Trick and T Rex and uses the influences to great effect and ‘DMAA’ even after a few plays sounds like a song you’ve heard a thousand times but still remains fresh as the first time you heard it. Backed by a nice acoustic run through ‘Sister Saint Joan’ is a nice one-two from Continental Lovers. Hopefully, when this pandemic pisses off we can get a full album recorded in a studio with a full band and we can all hold in our hands another great slab of Rock and Roll – power pop. Bandcamp
Johnny Casino – ‘Twenty Twenty’ (Golden Robot Records) What a barnstormer from Casino. Letting out all his lockdown frustrations in a three-minute record which kicks serious backside. Then flip it over and you have a more dreamy acoustic cover of the Bored track ‘People Say’. Best of both worlds and a worthwhile investment. With an impressive history in Australian Rock and Roll Casino doesn’t do bad records and this is a fierce shot in the arm that I’m sure we can all get down with. Instagram / Bandcamp / Facebook
Harker – ‘The Beast Must Die’ (Wiretap Records) Get a load of this Brighton based band taken from their soon to be released album that drops at the end of April. With its fuzzed up guitar its a fine introduction to the band and an indication of what we can expect from the album. check out the video below.
The Mercury Riots – ‘Save Me A Drink’ ( ) Hailing from the USA ‘Save Me A Drink’ is the first single from the band and is a combination of loud, fast, jet-fuel powered rock n roll its classic rock kids but with a modern twist. A classic power trio but keen followers of Bullets and Octane and The Brave Ones will recognise the band. With a swaggering riff and big groove, its got it going on and will have the classic rock writers salivating at a new band on the scene to breath new life into it.
The Blips – ‘Throw Me Around’ ( Cornelius Chapel Records) what an earworm this was. From the first play, it started to burrow in my ear and I began to crave it more and more. Birmingham, Alabama’s The Blips are set to release their debut long-player and this is just a sample of what they have to offer and on this evidence alone it’s got the potential to be a corker if this bright and breezy number is anything to go by. Pick it up Here or visit their Bandcamp page Here
The Lurkers – The Boys in the Corner (Damaged Goods Records) The original Lurkers none the less turn up with a pair of bangers that steal the crown of the singles club with a classic slice of pub rock punk rock Lurkers style. This, the second single from last years impressive album ‘Sex Crazy’ (still makes me giggle when I look at the cover) anyway one exclusive track ‘We Close The Door’ is a wonderful slice of Lurkers noise that’ll have you singing along before you’ve finished the first playthrough. with a wonderful guitar break that perfectly compliments a really vibrant song. Pick one up whilst they’re still available from Damaged Goods Here
NEW MODEL ARMY FOUNDER SINGER/SONGWRITER ANNOUNCES RELEASE OF BRAND-NEW SOLO ALBUM ‘SURROUNDED’ OUT MAY 28th PRE-ORDER HERE
On May 28th, 2021, Justin Sullivan steps out from New Model Army to release his second solo album, eighteen years after the first. Surrounded is a collection of sixteen new songs, written in the first weeks of the 2020 lockdown. These songs are again guitar-vocal compositions highlighting Sullivan’s love of storytelling, wide open landscapes and powerful atmospheres.
Mostly recorded at home, the album also features contributions from many other musicians including Jon Thorne on bass (Lamb) on harp Tom Moth (Florence and the Machine – and brother of NMA bassist Ceri Monger), plus string arrangements from composer friends Tobias Unterberg, Henning Nügel and Shir-Ran Yinon. Also featured are the current members of New Model Army. The album was mixed by Lee Smith at Greenmount Studios in Leeds, co-producer and mixer of New Model Army’s recent albums, including 2019’s From Here – their highest charting album to date globally.
Justin Sullivan says, “Under the circumstances, it wasn’t particularly surprising that this was the moment to make another solo record and the songs came thick and fast in the first few weeks of the lockdown. There is not so much about ‘what’s happening in the World’. As with ‘Navigating by the Stars’, which was written in the aftermath of 9/11, I wanted to write about other things – some well-known stories, some less well-known, a few autobiographical and more a landscape of the imagination than social comment.
“I’m grateful for all the many musical contributions I received from friends that help create all the different atmospheres and places; it’s a long album, but it seems that all the songs belonged together in one collection. I hope people enjoy it.”
Surrounded will become available on multiple formats such as CD Hardcover Media Book, Heavyweight Double Vinyl Gatefold and Digital and is available for pre-order as of now: Here
Today also sees the release of ‘Amundsen’, the very first single from Surrounded which gives an emotional first insight into this very personal album.
Justin Sullivan about ‘Amundsen’: “The stories of polar (and in particular Antarctic) adventurers at the beginning of the 20th Century have long been a fascination. On my first solo record, ‘Ocean Rising’ is, in part, the story of Ernest Shackleton’s epic voyage from Elephant Island to South Georgia. The final race to reach the South Pole between Robert Scott and Roald Amundsen is another fascinating tale.
“Being raised in England, Scott and his ‘noble, tragic’ failure is a story written large in national mythology but the other man, a truly remarkable explorer, is rarely acknowledged. The battle over who gets to tell which version of a story is very relevant in these times of ‘culture wars’, but the song is more a simple study of the man himself; I hope I have done him justice.”
‘Amundsen’ is now available as stream and digital download: Here
The single is also accompanied by an official music video which can be found on the official New Model Army YouTube channel: Here
The release of Surrounded will also see the re-release of Sullivan’s only previous solo album from 2003, Navigating by the Stars, released on CD but unavailable for many years. Described by The Independent as having “the warm organic quality of Van Morrison’s Astral Weeks”, the audio of this new version has not been altered but carries two additional tracks. These are ‘Sooner or Later’, which first appeared on a B-side in 2003, and ‘The Wreck of The Essex’, a song written and recorded later that same year that has laid dormant ever since but for a few live performances.
Navigating by the Stars will become available digitally and for the first time ever on vinyl. In addition, Justin Sullivan’s stunning debut album comes in a CD Digisleeve Edition with an expanded booklet as part of a Ltd. CD Box-Set Edition of Surrounded, followed by a standalone release later this year.
UNRELEASED JOE STRUMMER RECORDING “JUNCO PARTNER” AVAILABLE NOW
Taken from Joe’s upcoming album, ASSEMBLY, this previously unheard recording is also available to stream worldwide here: https://joe-strummer.lnk.to/AssemblyID
Discovered deep in the legendary artist’s vaults on a hand-labeled cassette tape, “Junco Partner” was a constant throughout Joe’s career. He first discovered the song on a scratchy R&B compilation in the 1970s and it became a staple on the set list of Joe’s first band, the 101ers, before recording it with The Clash for the seminal Sandinista! album in 1980 and it being a mainstay of live shows until the very end of Joe’s career with the Mescaleros. This previously unreleased home recording of “Junco Partner” offers an intimate insight into Joe’s unique vocal delivery and distinctive driving rhythmic guitar playing, with the accompanying animated mixed media video being created by Spencer Ramsey.
Released on Friday, March 26th, ASSEMBLY showcases carefully curated remastered tracks from Joe Strummer’s solo catalog, including “Coma Girl,” “Johnny Appleseed,” and “Yalla Yalla” (with The Mescaleros) to his iconic rendition of Bob Marley’s “Redemption Song” and soundtrack contributions like “Love Kills” (from the 1986 film, Sid and Nancy). Remastered by three-time GRAMMY® Award-winning engineer Paul Hicks (The Beatles / John Lennon / The Rolling Stones / David Bowie), the 16-track compilation features three previously unreleased versions of classic The Clash tracks, including “Junco Partner” and the previously unreleased electrifying live performances of “Rudie Can’t Fail” and “I Fought The Law” recorded by Joe Strummer and The Mescaleros at London’s Brixton Academy on November 24, 2001.
‘We were looking and looking for someone who had that, the added X ingredient, and there it was, right in front of us…. The blonde bomber turned up’. Phil Mogg (UFO Vocalist)
There aren’t many guitar players that have the pedigree of the German maestro Michael Schenker. From Scorpions to UFO to MSG, the axeman has paved the way for every guitarist that set ears on his hugely influential body of work. The likes of Kirk Hammett, Dave Mustaine, Dimebag Darrell and George Lynch have all cited him as an inspiration for picking up a six string. The image of Schenker and his trusty flying V is truly embedded in hard rock and heavy metal history.
His latest offering Immortal is the 11th released under the @ moniker and it certainly won’t disappoint his legions of loyal fans. Schenker has assembled an all-star cast with vocal duties shared by Ronnie Romero (Rainbow), Joe Lynn Turner (Rainbow, Yngwie Malmsteen) and Ralf Scheepers (Primal Fear) as well as Barry Sparks (Dokken) on bass, Steve Mann on keyboards, and drum stool duties are shared by drumming royalty: Simon Phillips (Toto, Judas Priest, The Who), Brian Tichy (Whitesnake, The Dead Daisies) and Bodo Schopf (The Sweet). Michael Voss has returned as producer and delivered a punchy and bottom-heavy sound that certainly delivers the goods in the most part.
Opening track ‘Drilled to Kill’ kicks the album off with style, a crunchy riff, thunderous double bass drums and a fist-pumping chorus along with some Jon Lord style keyboard flurries certainly grabs your attention. The melodic lead guitar work adds layers to the song and the dueling keyboards and guitar at the climax are very impressive.
‘Knight of the Dead’ is another highlight with Ronnie Romero showing why he is very much in demand with a fantastic performance on vocals. Another powerful track with the whole band firing on all cylinders. There’s plenty here for classic rock and metal fans to get their teeth into with more fantastic musicianship on show.
We have an obligatory power ballad with ‘After the Rain’, producer Voss takes over vocal duties on this one. There’s a nod to the eighties with this track, it certainly wouldn’t have sounded out of place on one of those ‘Soft Metal’ compilations from the time. There are some decent vocal melodies and of course, the guitar work is great but there’s nothing particularly memorable about it.
There is some filler material as well, unfortunately, with the likes of ‘Devil’s Daughter’ with its dated and inappropriate lyrical content – ‘super-high stilettos’ and ‘lady of the underworld in a red hot dress’ Oh dear….
‘Sail the Darkness’ brings the quality back with a Maiden-style gallop and a catchy punch along chorus. ‘The Queen of Thorns and Roses’ has a great nod along riff with more fantastic guitar work from Schenker. He really knows how to elevate a song with his inimitable style.
Another stand-out moment is ‘Come on Over’ with Romero doing his best Coverdale impersonation with more standout riffs and some superb drumming. It’s hard to believe that Schenker is 66 years of age. His playing is outstanding. MSG have some UK dates penciled in towards the end of the year, let’s hope they go ahead. This album deserves a live airing.
Final track ‘In Search of the Peace of Mind’ is a reworking of a track from the Scorpions debut album ‘Lonesome Crow’ that Schenker wrote when he was 15 years of age. It’s a decent version in all fairness and it brings everything full circle for an artist that has survived 50 years in the music business and is still releasing some strong material. That is a testament to a fascinating character and a legendary career.
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