Philip Seth Campbell – ‘City Lights’ (Assai Records)

Philip Seth Campbell – ‘City Lights’ (Assai Records)

The former frontman of The Temperance Movement returns after a tumultuous period in his life with a solo album that has been decades in the making. Musical differences and personal issues saw the gravelly-throated singer leave not only The Temperance Movement in 2020, but also last year he parted ways with The Byson Family, the band he left to form and concentrate on.

But following a series of acoustic shows and a recent EP release, Philip has exorcised whatever demons he was carrying and is back stronger than ever with his debut long player.

Seeking redemption and filled with retrospection ‘City Lights’ is a journey of a storyteller who explores new territories while tipping his worn and tattered hat towards his past glories throughout its 12-track length. There’s a self-assured confidence and a sense of rejuvenation to leading track and first single ‘Magical West’ that sees Philip shed the heavy rock and americana leanings of his previous bands and embrace a more commercial and eclectic direction. Upbeat and euphoric in equal measures, it has a Springsteen style power and delivery with a rousing chorus that will excite the listener and induce goosebumps as well as repeated plays.

‘City Lights’ is an album filled with unexpected directions that take you on a definite journey. The liberating ‘Hasta Luego’ is a tale of eloping to Mexico, and you are with him on the road as he invites you to “get away through LA and San Diego”. Sound wise, with urgent beats and stabs of keys it builds like Hothouse Flowers to a rousing chorus worthy of Butch Walker.

The mellower, more soulful moments such as ‘Revelation’ and ‘Break The Curse’ nod their heads to Van Morrison with gospel-tinged backing vocals, brass and stabs of piano to accompany the stunning vocal delivery.

The needle drops on side two for the funky title track with a blast of horns, crisp drum beats and gospel harmonies, coming on like an outtake from The Black Crowes sophomore long player meets Paolo Nutini, and that ain’t a bad place to be. But if there is any one song that would be a showcase for Phil’s vocal prowess on this album, I would probably go for the celebration that is ‘Soul Fire’. The performance here exudes confidence, power and depth and just seems to flow perfectly. A killer guitar solo adds some fire. It’s worth noting that considering he plays most of the instruments and self-produced this album, it has a very ‘live in the studio’, full band sound.

Elsewhere, ‘Silent Symphony’ mixes up americana and soul with sweeping strings and gospel backing to create a heart-wrenching, cinematic soundscape. And that is something that continues on the honest and confessional ‘Sober Boy’.

He may have left TTM to get away from the screamers, but closer ‘Gut City Blues’ leaves us with a reminder of his past. Killer riffs and even more killer vocals give us a whiff of AC/DC meets Ike & Tina goodness, plus the addition of founding TTM guitarist Luke Potashnick, who turns of to lay down a tasty solo. A glorious rocker that is sure to be a live favourite when he hits the road later this year.

While I was saddened when he left TTM and The Byson Family, Philip Seth Campbell has risen like a phoenix from the flames and delivered an album that exceeds all expectations. ‘City Lights’ is an instantly familiar album that is hard to not fall in love with from the very first listen. With enough rockers, ballads and ravers to satiate his fanbase, it exudes the confidence and charisma of a songwriter who has been around the block and has lived to tell the tale.

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Author: Ben Hughes

Jim Jones Allstars – ‘Aint No Peril’ (Ako-Lite Records)

Jim Jones Allstars – ‘Aint No Peril’ (Ako-Lite Records)

Wow, Can I start by asking you all before you read any further to get on your feet and give this record a rousing standing ovation, c’mon get up, pour a glass of something strong and run your fingers across your stereo turning the volume right the fuck up!

Have some respect kids, Jim Jones Allstars are in the house and they’ve brought all the devil’s tunes and his head on a stick it would seem. ‘Aint No Peril’ is a bonafide masterclass in Rock and Roll and oozing class, style, decadence, and a whole shitload of rhythm.

Having been lucky enough to catch the band as they rampaged across the UK earlier this year, Jim Jones All Stars were on fire and my excitment began for what was to come as Jim explained they’d been in the States recording the album and finally that time is upon us.  ‘Ain’t No Peril’, is smart, cool, drenched in Rock n Roll whilst twisting the melon with enough originallity and class to kick up a stink and hopefully give this genre a much needed shot in the arm and lead the charge with tune after tune.

Put simply, ‘Ain’t No Peril’ confirms Jim Jones as the true keeper of red raw rock’n’roll faith and the high priest of groove and zero fucks given style. Hell knows what they had to offer bealzibub in exchange fo rthese tunes but man it was worth it. Dancing with ole nick must have been one hell of a jive off as the band is connected, in the zone whatever cliche you care to use ‘Devils Kiss’ has been left on me for sure. as the ivories get tinkled filling in the gaps left by those horn honkin’ saxophones and Gavin Jays wandering fingers. Taking the band to Memphis Magnetic Studios in the balmy heat of Tennessee with hindsight was inspired. The swampy delta groove is hot as and adds a gravitas to these tunes they just wouldn’t get recording in ole blighty.

Across its 12 tracks, ‘Ain’t No Peril’ is an album that ducks and dives between the shadows and that sweltering heat its sticky, and there is no way of avoiding it. There is a bitches brew cooked up in the Southern state, fusing roots rock’n’roll, rhythm and blues, gospel , and the all-out weight of Jim’s previous poured in with equal measures. It can only be Jim Jones but this time it’s amped up with an air of something extra special that X factor ingredient maybe his other projects were lacking.

Joining Jim is long-time co-conspirator Gavin Jay (bass) with Elliot Mortimer (piano and keys), as well as drummer Chris Ellul (The Heavy), veteran punk blues guitarist Carlton Mounsher (The Swamps), singer Ali Jones and the three tenor/baritone saxophonists Stuart Dace, Chuchi Malapersona and Tom Hodges. This motley crew has it locked in and knows how to groove as the lead single ‘Gimme The Grease’ can testify from the shuffle to the horn honking it’s infectious and highly contagious in its groove, earworm, and rockability.

If there is to be any criticism to be aimed at this album its the inclusion of three instrumentals. Now I’m warming to one maybe two but these songs are crying out for some of Jones dancing with the devil cries a yelp and certainly some of his speaking in tongue screams but its only a minor gripe because in isolation they are bangers or maybe I’m just being greedy.

The sax on ‘It’s Your Voodoo Working’ gives me the chills as they honk through the speakers. I’ve not heard somethign this god damn groovy for years and the duet is a joy to behold, I think my voodoo is definately working but thanks for asking.

‘Your Arms Will Be The Heavens’ ushers in some sweet keyboards as the gentle soulful number ushers in a little light relief as Jim croons with the sould of a man whos heart is bursting out of his chest as the sun goes down on another day oozing class and a sidestep you probably weren’t expecting.

‘I Want You’ gets its groove on as brothers and sisters are urged to get on their feet and clap their hands and move their feet as the band gets juiced up and rocks out. Again the sweet spots all over the song from the tinkling ivories to the horn stabs and that drill n shuffle on the snare its addictive and in full flight a most beautiful thang.

Now ‘Hot Sauce’ is a motherfucker of a song kickin its groove down the line hypnotising the listener with the decaying snare and that crackle on the guitar but hey Jim get on it brother. ‘Troglodyte’ gets in the swamp and takes this record to places Jones hasn’t been before. Its a mega groove thats primal and filthy and totally nailing the lyrics.

‘You Got The Best Stink (I Ever Stunk)’ is a song title that nails the vibe and sound perfectly. It must have sounded like magic being created in the studio when laying down these cuts. The title track situated just at the hump of this album before we freewheel towards the finale is probably the most Jim Jones Revue song on offer (fans of the band will know what I mean).

‘Drink Me’ is the eleventh track and penultimate and sounds like the perfect muzac for a swinging sixties movie staring some dandy is maybe one that could have been kept for a B Side. Ending the record with ‘Evil Eye’ is Jim Jones in full voice as he summons the devil and strains every sinew of his vocal chords to banish away the demons with a tremendous performance to bring the curtain down on this most wonderful album.

Brothers and sister its time to get excited fo ranother Jim Jones led excertion into the deepest darkest shadows of soulful music its not soul music but music for the soul. Every path Jim Jones has taken has led him to this moment and this record – ‘Ain’t No Peril’ because this is a bona fide winner – Buy it!

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Author: Dom Daley

Pretenders – ‘Relentless’ (Rhino Records)

Pretenders – ‘Relentless’ (Rhino Records)

Losing my sense of taste – There is an air of darkened intent and menace ‘Losing MY Sense Of Taste’. Hynde sounds fantastic as she leads the band into this wonderfully sounding rocker. As the subtle melody unfolds behind a wall of guitar noise as the solo howls with delight as every ounce of emotion is rinsed out of the fretboard. Hyde has hit paydirt finding James walbourne who has tone and a swagger that is instantly likeable and has a style that makes the guitar sing in whatever mood he so wishes.

‘A love’ begins with that jangly chorus laden guitar that is something of a Pretenders / Hynde trademark but yet again the standout feature of the track is the mix  – it sounds huge. Excellent guitar pop.

On ‘Domestic Silence’ with its slow groove steeped in controlled overdrive gives the song an air of a well-oiled group locking in on each other, that small club tour they undertook to break these songs in as a unit was a masterstroke. This album sounds like a band, and not a solo Hynde project with hired top-tier session players which it could have sounded also co-writing with Walbourne is a winning team. Again the solo is exceptional as Walbourne delivers with feeling and some.

‘The Copa’ kind drifts Into the promise of love with its melancholy piano sounding like a late night in a smoky hotel lobby after one too many cigarettes and cognacs. The vocal is spot on here and Hynde is peeling back the years sounding as good as twenty years ago.

Side one taps out with ‘Merry Widow’ and another smokey slow number takes center stage. I think three in a row is a bit much as good as they are individually back to back they would have benefitted from being broken up with a more uptempo rocker. Even if the oriental drifting works well. It’s the guitar tone that pulls the end of side one through.

‘Let The Sun Come In’ is more on it, with a quality mid tempo feel and guitar lick lapping round the lips of a really good deep album cut. I like how the chorus soars. Next ‘Look Away’- is a melancholy acoustic pick through a sparse arrangement. Works well with the minimal percussion shaking it up from being just another slow album track it has room to breathe. The theme continues as ‘Your House Is On Fire’ continues with the laid back ambience a more relaxed Pretenders record than the last one but no lesser quality album. ‘Just let It Go’, another bordering on balladeering but is a fuller more traditional slow dive.

Hynde and James work really well together and their songwriting is in sync showcasing a unique voice that is instantly recognisable and can pull through a less than excellent song and with the addition of some superb guitar work throughout the record it’s a really good listen.

‘Vainhlorious’ is exactly what I was looking for as the album heads towards its conclusion, Turn the amps up and let’s play some loud rock n roll because when this band goes for it they can rock out with the best of them.

The record closes out with the beautiful ‘I Think About You Daily’ with strings arranged by the Radiohead guitarist Jonny Greenwood on what is a perfect album full stop with some great arrangment of the finely balanced strings for the pick of the slow songs on offer. Very decent album yet again from The Pretenders who show no sign in giving up their craft just taking it to different destinations along the rocky road.

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Author: Dom Daley

The Courettes/Nervous Twitch – Brudenell Social Club, Leeds – 6th September 2023

The Courettes/Nervous Twitch – Brudenell Social Club, Leeds – 6<sup>th</sup> September 2023

She’s from Brazil, he’s from Denmark and they are collectively known as The Fabulous Courettes! Husband and wife duo Flavia & Martin Couri have been wowing crowds with their explosive high energy brand of 60’s girl pop & garage rock for nigh on 10 years. The stylish drum and guitar duo have released 3 long players and a string of cool 7 inchers, all recorded in mono with the coolest, collectable cover art a fan could desire. And the fuzzy, melody strong tunes back up the image tenfold. With more potential radio hits than their contemporaries could muster in a full career, and a live reputation to match, The Courettes should be on the tip of everyone’s tongue, yet they remain rooted firmly in the underground scene. Ssshh, don’t tell anybody though, as it’s our little secret!

Promoting new single ‘Tough Like That’ and with a new compilation record ‘Boom! Dynamite’ on the merch table, this is their first visit to Leeds and my first time witnessing the band, let’s see if they live up to the hype.

Before the main event we have a band who are not on my radar to warm us up. Nervous Twitch are a colourful Leeds based trio, a fiercely independent band with 5 albums under their collective belt. They combine a 60’s girl group sound with surf and punk, yet sound dynamically different to The Courettes. This is more British indie punk sound, like Fuzzbox or The Slits. What both bands do have in common though are great melodies, familiar riffs and hummable tunes that stick in the mind.

Singer/bassist Erin used to be the drummer, and in her quirky, coloured 60’s hat & dress combo and surf green Danelectro Longhorn bass, she sorta looks like a punk rock Paloma Faith, in stark contrast to guitarist Jay in his baseball cap and stripey t shirt. They sound great too, ‘The likes of ‘History Of The Wild West’ and ‘We Don’t Care’ are short, sharp and sweet blasts of nonchalant punk pop with hooks aplenty, and with plenty around me singing the words, it would seem they have the fanbase too.

I’ve not heard them before but now Nervous Twitch are on my radar I will be back for more. Very impressive stuff.

It’s the hottest day of the year and I was prepared for a sweat-fest in the notoriously humid Brudenell tonight. But you know what? It wasn’t that sweaty at all! One of the few good things to come out covid times was the addition of air con in venues, and while there was definitely no need for a coat tonight, the cool air was a welcome addition to one of the most energetic shows of the year.

Heartbeat of the band Martin Couri introduces his guitar slinging wife with a swish of the hand to great applause. The applause ceases as he takes to his minimalistic set of drums stage front, and reaches out his hand, his drumstick held tightly parallel to a stage that is about to be drenched in his own sweat and spit. His gaze is fixed firmly out to his audience who are silently waiting in anticipation, then the duo blast into a frantic ‘Hoodoo Hop’…. Holy shit! As he bashes seven shades of shit out of his kit with that iconic beat, Flavia immediately takes the attention. In a black and white 60’s go-go dress, matching make-up and her vintage red guitar strapped to her waist, she looks like the daughter Jack White and Olivia Jean would absolutely die for, and she has the energy and stage presence I was hoping for. With a gritty rasp like Lulu in her prime and a guitar tone to die for, she wows the crowd and pulls all the iconic rock star poses any photographer would hope. Pay attention all you bands out there, this is how you do it, ok?

The hits keep a comin’ and the energy levels do not drop for one second. ‘The Boy I Love’ is pure 60’s girl group goodness, with a garage rock riff you know you’ve heard before. It’s like the ghost of Phil Spector shines down on the duo. Everything is a bit familiar and it’s delivered with the raw, primal power you want from any live rock n’ roll band. ‘Hop The Twig’ with its Duane Eddy surf guitar and tambourine bashin’ is about as primal and flashy as I like my rock n roll, and I love it. Live, it’s extended and jammed out giving Flavia a chance to venture out into the audience.

Flavia is a charismatic and energetic leader and her husband is a powerhouse drummer. They are both engaging, push for crowd interaction and make it way more than just a gig, this is The Fabulous Courettes and it’s a rock n’ roll show delivered in the tradition of how bands used to entertain their audience. Their mission is to make you leave your phone in your pocket, cease talking to your mates, and pay attention. The Courettes want you to get lost in the moment and dance like no one is watching. And that is exactly what happens. A few songs in, Flavia invites all the girls to the safe space down the front, she wants them all dancing, and the ladies do just that. ‘Want You like A Cigarette’ gets the biggest reaction, and fair play, so it should. All handclaps and pop-tastic melodies, how could you not sing and dance your little socks off!

For all their pop goodness The Courettes have an equal amount of garage rock goodness going on. ‘Boom Dynamite’ is a killer slice of punk rock energy. With Martin’s primal beats and cool hollering mixed with Flavia’s fuzzy guitar and sexy rasp, it is a high energy set highlight. There ain’t no encore, the band just keep playing their glorious tunes. “Let’s have a party, it’s the end of the world” is Flavia’s invitation in ‘Misfits & Freaks” and yeah, I’m with her tonight.

Live music should be something that transcends your daily life. An escape from whatever troubles and tribulations we find ourselves in. When it’s stripped back, raw and primal and when a band gives it 110% there truly is nothing better in my mind. And if there is a party to be had at the end of the world, I would want The Courettes to open proceedings. Do not miss them if they come your way, you can thank me later.

Author: Ben Hughes

Headcat – ‘Live In Berlin’/’Dreamcatcher’/’Walk The Walk…Talk The Talk’ (BMG)

Headcat – ‘Live In Berlin’/’Dreamcatcher’/’Walk The Walk…Talk The Talk’ (BMG)

‘Live In Berlin’

Get ready for a mega Headcat drop as you comb your quiff with engine grease because Headcat have not one but three releases. Firstly theres this here ‘Live In Berlin’ recorded at Huxleys way back in 2011 as well as their second studio collection ‘Walk The Walk…Talk The Talk’ and the previously released ‘Dreamcatcher’ live at Viejas Casino 2008 previously only out on Vinyl now on CD wheras the other two are on both vinyl (for the first time) and CD. So, fill yer boots.

If you didn’t know, Headcat was the roots Rock n Roll three piece started by Lemmy ably assisted by the Stray Cats can thumper Slim Jim Phantom and picking the six strings Danny B Harvey. Essentially Lemmy always said his day job band just played loud Rock and Roll – well his bit on the side does the same thing but maybe not quite as loud but tipping Lemmys Stetson to the originals who paved the way and invented the genre we know and love called Rock n Roll. Sure Lemmy rasp is loose and casual but man when he wanted to he sounded like the most authentic Rock n Rolling young man (well, not so young) but the love and attention to detail in these songs is obvious for everyone to hear. It’s in your soul and no matter how hard one tries to fuck it up it can’t be done and the cream will always rise to the top. whilst the studio stuff is interesting and pretty damn cool live they were a pretty awesome six-legged beast as ‘Live In Berlin’ testifies.

Twenty-one tracks of sublime original rock n roll from ‘Something Else’ through ‘Let It Rock’ via ‘Fools Paradise’ you know the drill and by the time you get to ‘Blue Suede Shoes’ you’ll have had a blast and probably want to do it all over again. A fantastic time capsule now available to cherish forever. God blemm you Lemmy Kilmister.

Buy ‘Live In Berlin’ Here

‘DREAMCATCHER – LIVE AT VIEJAS CASINO’

Ok, one live album down the other to go. Whilst the set is a little shorter this eighteen-track offering (even if one is band introductions) it doesn’t replicate all the tracks off the Berlin show which was recorded only a few years later. But what this lacks in quantity it sure as shit makes up in quality with a romp through ‘Route 66’ and ends with ‘Crossroads’ it has ‘Rock n Roll Will Save You’ and ‘Fight For Your Life’ which makes it equally covetable. the sound is of course as you’d imagine – impeccable and just as you’d imagine these three mates to sound. Another CD another must-have.

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‘Walk The Walk…Talk The Talk’

Finally, we close off this hattrick of releases with the studio album ‘Walk The Walk’. With expanded sleeve notes this album rocks. Its three mates having a ball cutting a disc doing what got them into this trouble in the first place. Sure Lemmy ain’t no choirboy but boy does he deliver these classics with gusto and attitude befitting the magnitude of the task in front of him. These are the foundations that went on to enable ‘Ace Of Spades’, ‘Love Me Like A Reptile’ ‘Stray Cat Strut’, and ‘Rumble In Brighton’, and its a bit of fun. I’m sure these cats could knock out volumes of these songs in their sleep and we are lucky enough to have several records of it both in the studio and live. Get on it and play it to your kids, it’s only Rock and Roll.

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Author: Dom Daley

Christmas ‘Eff It Up’ in style Video

Christmas ‘Eff It Up’ in style Video

After the start of the pandemic and Brexit, Christmas were perhaps the first punk band back on tour in the UK in 2021. To capture the experiences on video, the band captured the tour in a small clip in 2022. Enjoy ‘Fuck It Up’ from the current album ‘Hot Nights In Saint Vandal’ (released in 2020 on Kidnap Music and TNS Records) you can watch the band from the ferry to Quadrophenia Alley!

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C.O.F.F.I.N – ‘Australia Stops’ (Bad Vibrations)

C.O.F.F.I.N – ‘Australia Stops’ (Bad Vibrations)

If you prefer the US re-dubbed version of Mad Max, George Miller’s 1979 post-apocalyptic vision of the future, then hit the homepage button now, because C.O.F.F.I.N are about as Australian as every millimetre of Mick “Two Fingers” Simpson’s beer belly. Just take one look at the front cover of ‘Australia Stops’, the band’s fifth album to date, and there’s no disputing these madmen from the Northern Beaches of Sydney really do suffer for their art. I mean who has a mullet in 2023? Well, other than the members of Rough Gutts, obviously. (Ha!)

Yeah, these four guys are like a Cosmic Psychos and Asteroid B-612 jam band playing Bea Smith’s birthday bash at Boggo Road Jail, that’s how bloody Australian they are, and they sound totally bloody bonza too! Just take one listen to the album’s opening track (and lead video) ‘Give Me A Bite’ and tell me I’m wrong.  The opening guitar licks of this track slap you straight across the face before vocalist and drummer Ben Portnoy (no relation…I hope) literally spits the song’s lyrics in it too. There’s something very Hip Priests-like about the “spit in my wounds” refrain too, and that’s certainly no bad thing, eh pop pickers? 

I must admit that when the band released their ‘Children In Finland Fighting In Norway’ (think about it) album a few back, I was already balls deep into a playlist featuring the likes of Stiff Richards, Private Function and Civic, so that record’s dozen tracks kind of passed me by, but here in 2023 with no such distractions to take my (bonk) eye off the C.O.F.F.I.N shaped prize, I’m all about the mullet maaaaan.

‘Cut You Off’ reminds me of just how great Airbourne used to be before they recorded the same album four times over, mixing the Rose Tattoo riffage with Motorhead attitude to absolute perfection. ‘City Sun’ meanwhile appears to be an ode to a man with the head of a horse, so I’m always going to love it aren’t I?

‘Keep It Dark’ and ‘Lovers Leash’ quickly follow and continue this four to the floor approach before ‘Beasts’ chugs its harp beating black heart past the record’s midway point, and I can’t help but think of Stevie Young’s old band Starfighters and their classic debut album every time I hear this one.   

For the second half of ‘Australia Stops’ the album’s title track introduces us to a further five song knuckle sandwich of punch drunk rock ‘n’ roll, the highlight of which (for me anyway) is the blistering one – two of ‘Through The Sewer’ and ‘Faceless’ a fine duo of tunes for the children of Generation Z to truly lose their shit over, just like they have been to the likes of Amyl & The Sniffers and The Chats.

Hotter than a rollin’ dice, C.O.F.F.I.N will hopefully be back soon to rule the roads of the UK (they did a run of shows back at the start of the summer) and promote ‘Australia Stops’ to the max, In the meantime we can all get excited about this mighty fine record hitting the record shop racks on September 15th.

Play it loud folks, PLAY IT LOUD!

You can pre-order ‘Australia Stops’ via the following link; http://coffin.lnk.to/AustraliaStops

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Author: Johnny Hayward

Burning Sun – ‘Wake of Ashes’ (Stormspell Records)

Burning Sun – ‘Wake of Ashes’ (Stormspell Records)

Love European power metal? Double bass drum barrages? Endless widdly guitar solos? High pitched vocal gymnastics? Lyrics about swords and steel? Well, my friends, you’ve come to the right place.

Wake of Ashes is the debut album from Hungarian based power metallers Burning Sun. The band wear their influences on their leather studded sleeves, the obvious comparison to classic Helloween is plain to hear. There’s some Queensryche, Accept and Maiden thrown in too for good measure. The songs are cohesive and superbly executed, the production has an old school vibe which helps with the nostalgic feel of the album.

Apparently, Wake of Ashes is a concept album based on Zoltán’s World of Warcraft character Emaly…. I know nothing about World of Warcraft so I couldn’t possibly comment on that, but I do know a good metal band when I hear one! You get 8 melodic songs with a playing time of just over half an hour. The songs are short, fast, and sharp and I felt that a few more tracks wouldn’t have gone amiss.

Fans of the power metal genre will love Wake of Ashes, the album artwork by Alan Lathwell is great too. The album is available on CD, cassette, and digital platforms.

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Author: Kenny Kendrick

The Hangmen – ‘Stories To Tell’ (Acetate Records)

The Hangmen – ‘Stories To Tell’ (Acetate Records)

I always get excited when I hear news trickling through the grapevine that Californias Bryan Smalls has assembled The Hangmen to record some new music and when I got the PR to say ‘Stories To Tell’ was indeed done and in the can, I couldn’t wait to get me some.

Getting straight to business, ‘Broken Heartland gets ‘Stories To Tell’ off to a flier with its solid tempo and some cool slide driving this Rocker onward and upwards. With some really nice solo work. With very little fanfare it’s on with the show and always a band who simply let the music do their talking. As far as openers go this is a thumper, no messing about just good honest Rock n Roll with a decent hook sweet playing and a melody on the chorus that locks in to your good vibe receptors of your brain making this addictive and oh so sweet.

Play on. With a nice round ten tracks on offer Smalls laid back exterior and style is no more aparent than ‘Midnight Riders’ with its widescreen vision as the sun drops out of the sky its such a quality tune. You’ve gotta love the melody as it battles with the music for what grabs you most but this is where The Hangmen sit best for me – it sounds effortlessly cool as you’re drawn in. They turn up the amps for ‘Last Time I Saw You’ as the riff chimes the band are rockin out here just cruising through the gears.

Another shift in tempo sees the laid back ‘On The Outside’ go country roots rock. The acoustic guitars are out and its time to sip a beer on the porch whilst the Rock n Roll eases back. Four songs deep and four sides to The Hangmen painting broad strokes with a thread throughout thats totally recognisable which isn’t easy to do. That Hangmen tone is what captures your attention. It’s raw as a seeping wound but sweet as honey, ‘Sinister Purpose’ hangs its melody on a big riff thats classic and modern but always quality. The cowbell is out on ‘Bayou Moon’ as Smalls leads his troops down a Stones rabit hole that oozes class. As the groove takes hold I’m gazing into the sky hoping we can all get some of this ‘Bayou Moon’. In fact The Stones are lurking in the DNA of Stories To Tell as the acoustic rocker of ‘Behind The Wheel’ will testify.

With a title track being a mid paced mid day rocker stretching itself out building to the chorus its just classic Hangmen and if you get it you’ll dig it and admire their class. Its a very impressive album with variety and moments left right and centre that purr with quality from the rockin opener to the almost baladlike ‘Runnin Kind’ that brings the curtain down on this excellent album. Don’t take my word for it. Head out there and pick up a copy or if you’re modern and like to stream then get on and pre save it so you can also marvel in the majesty that is the most excellent Hangmen. Winner!

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Author: Dom Daley

The Arrogants – ‘Brainwash’ (Dirty Water Records)

The Arrogants – ‘Brainwash’ (Dirty Water Records)

Another day, another impressive album of psyche rock blues from France. Even though I live there, I’m not sure what they put in the water, but The Arrogants are convincing enough to have persuaded Pete Townshend to have them as support to The Who in Paris. “You really have captured the vibe of the very early ‘60s Mod scene and the UK R&B scene, this will work because you have reinvented it all so well. I wish you luck”. Pete Townshend.

The roots of the mod scene were quite varied, and these lads from Lille have an affinity with the scene, man. It’s by turns groovy, simple, spaced out and infectious. From the opening instrumental onwards, this could have been released in 1966-67. Not so much “reinvented”, Pete, but that’s not a criticism. ‘No Question’ and ‘Show Me How’ wouldn’t shame The Fuzztones, ‘Stoned Blues’ is perhaps a little too perfunctory, but pleasant.

‘Look At Your Body’ is more energetic, bonus points for the frenetic bass line which doesn’t let up. This should get you dancing. ‘Dark Flowers’ is equally catchy, the Hammond filling out the sound, while ‘I’m Tripping’ tips a nod to Roky Erickson. ‘Smokey Eyes’ and ‘6000 Years’ are quality garage rock, in a Morlocks style. They certainly tick all the boxes of the genre, and have worked hard at creating an authentic-era sound. This needs to be heard in a sweaty club, as you frug the night away.

‘She Smiles (She Comes)’ ends the album, drawing things out, starting off dreamy, then picking up pace like a youthful Stones. 14 songs, if you trimmed off the slower blues it’d be perfect, just my opinion. An impressive second album, I hope I get the chance to see them soon.

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Author: Martin Chamarette