The Hard-Ons – ‘Ripper 23’ (Golden Robot Records)

The Hard-Ons – ‘Ripper 23’ (Golden Robot Records)

Peter ‘Blackie’ Black, Ray Ahn, Murray Ruse and Tim Rogers, otherwise known as The Hard-Ons from out of that there Australia where every creature wants to kill you.

If you’ve never heard of them this is album #14, off the back of their most recent release, 2021’s ‘I’m Sorry Sir, That Riff’s Been Taken’ the Hard-Ons have been busy constructing this beast from all the parts of music they dwell in down there punk/rock/metal/thrash/pop its all there.

From the punky attack of the records first single ‘Apartment For Two’ to the big riffage of ‘In Falls Everything’, the record is packed to the gills with big hooks and a unrelenting power but its wrapped up in melody and a great production.

Renowned for their pop-infused punk meets metal to rock, that goofy oz tongue-in-cheek humour, The Hard-Ons are the original Australian punks that kicked down the door for the likes of Amyl, The Chats and others to walk through. Their influence should not be underestimated globally. 

‘Ripper 23′ is the band fucking with you and having the best of times doing it. Marking an ode to the actual Ripper compilation albums from the 70s (if you know, you know) in the UK we had the Top Of The Pops albums with a page three stunner on every record in various stages of undress be it across a greasy chopper or just coming out of the sea all wet and bothered (of Course) sexist? Um!?, everything old is cool and retro is in vogue, Hell it’s 2023 anything goes and The Hard-Ons know that.

‘Apartment For Two’ is punk as fuck and a riotous opener that Hard-Ons do as good as anyone else in the genre. Next up, ‘Three Separate Light Bulb Moments’ is a riot in audio from the frantic thrash but as you settle down for the full attack it’s done. ‘Going It Alone’ is a wonderful pop song like when Husker Du offer up stonking melodic indie rock or the Lemonheads cut loose on a Buffalo Tom tune. Hang on ‘Sheets Are A Shroud’ is rockin’ with the best of them. A crisp clean riff that sounds sharp as fuck which only paves the way for ‘Chopping Block’ as it gallops through the record like a stallion. Hang on ‘Grandiose’ is heavy as an anvil and about to explode at any second then the gang vocals join in. The record then changes tracks with a DC riff pounding its way as those who are about to rock do just that, its six-packs of beer and a foot on the monitor wedge – let Rock and Rock hard! Big, big balls!

‘Ripper 23′ always sounds like it has a good time through every song, be it hard rock or frantic punk. ‘Makes Me Sick’ cleanses you with some firework punk rock where the guitars sizzle and spit, while ‘Sling Shot’ gallops like a metal riff fest, with hushed vocals to counter the riff before a killer guitar solo that Brian May would be proud of cuts through a frantic flurry of drums.

And closing out this record, the upbeat ‘Letterbox’ is like a Blag Dahlia wet dream with folky harmonies fucking with you before kissing you goodbye with the bluesy throb of ‘Ordinary Things’ with its pianos, and melody it grows into some epic pop-rock blow out.

The Hard-Ons do whatever the Hard-Ons want to do and again they achieve the impossible cross overs with ease and make anything and everything possible. What and where they go next who knows, whatever it is it’ll be quality and you will love it. Get Ripper 23 you wont regret it at all. 

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Author: Dom Daley

Duncan Reid & The Big Heads – ‘And It’s Goodbye From Him’ (Little Big Head Records)

Duncan Reid & The Big Heads – ‘And It’s Goodbye From Him’ (Little Big Head Records)

The first thing that struck me about this farewell was the striking artwork. I must admit that a small lump in my throat was quickly cleared with the thought that they all say T’ra but then head back out on tour or do a covers album or a duet or some form of return but I also had thoughts of none of us are getting any younger and an end to recording and touring is inevitable for all of our pop stars but that artwork and that title is a tough one, especially for someone like Duncan Reid. It’s been some journey from that last show with The Boys to the exciting news that he was putting a band together to releasing a record that was pretty bloody good (like we didn’t know it) but it lit a fire inside Duncan and he went on to write, record and release better records over the next decade up to this point where we get to hear his Swan Song and what a swan song it is.

The album opens with a classic Reid song with a punchy New Wave synth but it’s soon caught up by a rollicking rocker – uptempo music whilst the lyrics are thoughtful and reflective but yet another classic Reid opener – grabbing your attention in an instant and before you know it you’re lost in the music. ‘Funageddon Time’ kicks off on a ‘Personal Jesus’ guitar lick before heading off down a glam stomping route. Not content with being one of the nicest people in music he writes songs titled ‘Just Try To Be Kind’ and it’s like a little ray of sunshine backbeat rock n roll with lush bv’s and a tidy melody – of course it’s bloody nice. Inevitable lyrics and songs about the dreadful lockdowns are a global topic for connecting with audiences and Duncan has ‘Can I Go Out Now Please’ with its fine arrangment with McCartney piano stabs sitting nestled nicely amongst those great guitar riffs. Theres even time here to branch out with the strings on ‘It’s Going So Well’ thats the best World Party song Wallinger never wrote.

Of course there are bouncy rock songs here – take ‘Oh My My’ just rolling with the punches. The new wave rocker thats ‘Real Good Time’ and ‘Everybody Knows Its True’ driven on by the piano had this been thirty years ago we’d have seen these loons on TOTP knocking songs like this out every other week leadign the charge for guitar driven pop and doing it better than most.

They also push the envelope on this album with some of the arrangments like the Who inspired ‘Bill Gates’ with some nice Synth fills and a fantastic arrangement topped off with a punchy dirty guitar riff. Hold on handbrake turn as we get some Urban Voodoo umpapa parlour music with some sweet viloin soloing on ‘Would I Lie To You’. As we head towards the curtain call theres time for one of the albums finest songs ‘It Rains On The Good’ reach for those tissues as ‘The Guilded Cage’ is the final lockdown song from Reid before he signs off with ‘Singing With The Beach Boys’ which is pure Duncan Reid & The Big Heads and thats it done, finito, the end, uno mass. Good vibrations indeed its been the best and Duncan Reid has saved the best til last with his most accomplished album of the lot and its been a very impressive collection.

Mr Reid it’s been a pleasure, our chats, the live shows and of course the fantastic music it’s one hell of a legacy you leave in this murky business of Rock and Roll but one that people will remember lots of them. The smiling frontman who climbed to the top of the hill and took his time coming down, making people happy and smiling on the way – Duncan Reid we salute you now piss off and put your towel on that lounger you’ve earned it. Oh, when you’re fed up with root veg and doing nothing I’ll look forward to the comeback album and tour in a couple of years see ya! Until then nos da i chi Duncan bob amser yn bleser byth yn orchest

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Bob Vylan hits the road

Bob Vylan hits the road

Bob Vylan is going on tour. Tickets for the ‘Viva La Vylan Tour’ are on sale now.


They’ve been locked away making new music and it’s time to get back out on the road. They’ll be joined by Panic Shack and Kid Bookie from the 12th onwards and Meryl Streek will be joining them in Ireland.

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Flamin’ Groovies – ‘Rockin’ The Roundhouse’ (Cleopatra Records)

Flamin’ Groovies – ‘Rockin’ The Roundhouse’ (Cleopatra Records)

With the mighty Flamin’ Groovies being the sound of summer chez moi, it seems appropriate to review this double CD live release from Cleopatra Records. With the lion’s share of tracks being from the Roundhouse gig of 1978, and the rest from the Imperial College in 1976, this is the classic line up of Jordan, Wilson and Alexander. On the one hand, this was the band at the height of their live power, tight and focussed. On the other, I’d really like to hear the Roy Loney era gigs, to absorb his more unhinged approach.

1978 kicks off with ‘Between The Lines’, and it’s a reminder that we’re lucky to have The Speedways nowadays. It’s a similar knack with a tune, simple but somehow clever at the same time. ‘Lady Friend’ shows their talent for melding Beatles and Byrds melodies without sounding too earnest, which makes the inclusion of two Beatles songs all the more puzzling. ‘Please, Please Me’ and ‘From Me To You’ are decent enough homages, the drummer nailing Ringo’s hi-hat shenanigans, and the crowd sound happy. Maybe the band wanted to move away from the Loney material, but didn’t have too many songs to choose from?

However, we do get to hear the classic ‘Don’t Put Me On’, which is essentially ‘Shake Some Action’ Part 2 (this isn’t a criticism!). It remains one of my favourite songs, and currently, in France, the fabulous François Premiers do a cracking version. Along with ‘House Of Blue Light’ and ‘Reminiscing’, there’s Cliff’s legendary ‘Move It’, which feels like a better choice of cover version.

1976 has to include ‘Shake Some Action’, obviously, still one of the best songs ever. Sound quality is a little shaky (sorry), but worth hearing nonetheless. You don’t want a slick sound, do you? It’s beautiful as it is. ‘I’ll Cry Alone’ is gloriously melancholy, while the run through of ‘Miss Amanda Jones’ might remind Mick and Keith to dust it off whilst they still can. And they rattle through ‘Hey, Hey, Hey!’ in a manner to get Jim Jones’ foot tapping.

Also included is an alternative take of ‘Slow Death’ and the Courettes’ mix of ‘Shake Some Action’, which is pleasant enough with its Spector Sound and added drums, but you can’t improve on the original. So, if you want to experience the 60s by way of visiting the 70s, this is a fine destination, daddio.

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Author: Martin Chamarette

Phil Campbell & the Bastard Sons – ‘Live in the North’ (Nuclear Blast Records)

Phil Campbell & the Bastard Sons – ‘Live in the North’ (Nuclear Blast Records)

When Motorhead folded after Lemmy’s death in 2015, everyone wondered what would become of guitarist Phil Campbell and drummer Mikkey Dee. Would they stay together and form another band? As it turns out, that wasn’t to be, these days Mikkey sits on the drum throne for German metal titans the Scorpions, and Phil Campbell turned his side project while he was in Motorhead; Phil Campbell’s All Starr Band into something permanent and changed the name of the band to Phil Campbell and the Bastard Sons. The Bastard Sons in question are of course Phil’s actual sons Todd, Tyla and Dane on guitar, bass, and drums respectively.

 A self-titled EP was released in 2016 and they released their debut album ‘The Age of Absurdity’ in 2018 on Nuclear Blast records. The album was well received, winning best album at the 2018 Metal Hammer awards. The band succeeded in salvaging some of the Motorhead swagger with a modern edge that helped them fit in to the NWOCR movement.

 Their second album ‘We’re the Bastards’ which was released in the autumn of 2020, followed on nicely from the debut with more fist pumping anthems. In 2021 the band parted ways with vocalist Neil Starr. Andrew Hunt from Buffalo Summer/Valhalla Awaits filled in for some live dates including a headline spot at 2021’s Steelhouse Festival while the band looked for a full time replacement for Starr.

In January 2022 the band announced Bootyard Bandits front man Joel Peters as their new vocalist after completing a UK tour with PCATBS. The band have always been a force to be reckoned with live and with this latest release ‘Live in the North’ we have been given a great insight into just how good they are as a live unit. I have been lucky enough to have seen the band live numerous times now, and they never disappoint. The album was recorded in 2021 at the Independent in Sunderland and the track listing has a dusting of both studio albums as well as some Motorhead classics and material from Phil’s solo album ‘Old Lions Still Roar’.

Kicking off with a rousing rendition of ‘We’re the Bastards’ the band are on fire throughout the set. Joel Peters sounds like he’s always been there fronting the band, he really is a fine front man, engaging the crowd and singing his heart out. The Bastard Sons themselves are all fine musicians and play a blinder here as always. Drummer Dane is world class and shows his fine-tuned chops here driving the band all the way. Todd and Tyla sound great, Todd’s crunching guitar sound works perfectly and Tyla has that rumbling bass sound that’s worthy of every Lemmy lick he plays. Then we have Papa Campbell himself, still playing like his life depended on it every night, he really is an inspiration. ‘Bite My Tongue’ swaggers along nicely, ‘Rock Out’ sounds revitalised here with a little more pace than the Motorhead original. ‘Spiders’ grooves along with a riff that Tony Iommi would be proud of. ‘Son of a Gun’ is an absolute belter of a track that sounds so much better live. Motorhead anthem ‘Born to Raise Hell’ is full of rock n roll boogie and is a guaranteed crowd pleaser. ‘High Rule’ is another track that sounds better live with its double time chorus that Dane has a ball with. ‘These Old Boots’ pumps along nicely with Peters taking on the vocals that Dee Snider of Twisted Sister provided on ‘Old Lions Still Roar’ with ease.

We are then treated to a breakneck speed version of ‘Ace of Spades’ which rolls into a clap along rendition of Hawkwind classic ‘Silver Machine’. ‘Ringleader’ brings us back to the band’s original material with a bang before we are ‘Going to Brazil’. ‘Dark Days’ does what it says on the tin, a brooding chug fest that comes into its own in a live setting. ‘Big Mouth’ from the bands debut EP is a mainstay in the bands set and always goes down a storm. The album closes with a fantastic execution of Motorhead’s ‘Killed by Death’.  

‘Live in the North’ is a solid representation of Phil Campbell and the Bastard Sons in a live setting. A great listen from start to finish, and with 15 songs and just under an hour’s duration, you get plenty of bang for your buck. As I write this, the band are taking pre orders for a signed CD version or a T shirt and CD bundle. Get on it quick people! Oh, and fuck you Tyla Campbell!!

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Author: Kenny Kendrick

The Hives – ‘The Fleece’, Bristol – 30.05.23

The Hives – ‘The Fleece’, Bristol – 30.05.23

On the hottest day of the year, the hottest ticket in town would be The Hives playing The Fleece in Bristol. As the 450 lucky punters crammed into the old venue in anticipation of seeing the Hives up close and personal for the first time in many moons they kindly wedged in this intimate show amongst their support slots around the countries football stadiums ahead of their new album due this August. As the Swedish superstars hit the stage in their wonderful new suits the fun kicked off with huge grins as the near-perfect sound was cranked up and away we go!

In the one hour the band were on stage they managed to wedge in no less than five stonking new tunes beginning with the barking ‘Bogus Operandi’ before launching an all-out aural and visual assault on our senses with the magnificent ‘Main Offender’ which led straight into ‘Walk Idiot Walk’ and I paused for a second to appreciate how many awesome songs these Swedes have in their arsenal.

The banter from Howlin’ Pelle was, as always top notch as he introduced the most excellent ‘Rigor Mortis Radio’ the frantic bop of ‘Good Samaritan’. ‘Hate To Say I Told You So’ sounded super tight (as you’d expect) but it was the new songs I was excited to hear and ‘Trapdoor Solution’ was an instant classic and exactly what I wanted to hear from the Hives in 2023 but then ‘Countdown To Shutdown’ might just have topped it with that dirty Garage Bassline thumping the band on to play harder, faster and more intensely The Hives were on fire tonight and it was fantastic to see them in such tight confines the last time I saw them was pre pandemic in a field with about 90,000 people and of course they were awesome that night but this was special.

The conquering heroes leave the stage briefly before returning to finish the job and knock out an encore of impeccable quality with ‘Come On’ followed by the epic ‘Tick Tick Boom’. They were done, no more, take a bow and get out of dodge leaving the crowd wanting more. the Hives are back and still your favourite band. A new album is coming in August and hopefully, more dates to support it where I will be down the front singing and dancing, ‘Come On’! Ladies and gentlemen The Hives are still your favourite band and on this form who could argue?

Author: Dom Daley

Unmaker – ‘Limb From Limb’

Unmaker – ‘Limb From Limb’

When I started writing this review I tried to think if there are any thrash metal bands from Ireland that I had heard of… I couldn’t think of any, and a quick Google search didn’t help. Interesting that I had sitting in my lap the new album from Dublin based thrashers Unmaker. ‘Limb From Limb’ has one foot in the glory days of thrash, the band wear their influences on their (leather studded) sleeve, I can pick up early Sepultura, Kreator, and Possessed vibes throughout the album.

Opening with the brutal ‘To War’, Unmaker show that they mean business from the off. Crunching staccato riffs, pulverising drums and shouty vocals make the perfect blend for some old school sounding FRASH!! Drop Dead is a bouncier affair with a more atmospheric approach. The title track brings us back to more breakneck riffs and some double bass gymnastics from drummer Jake.

The album is very engaging, it really grabs you from the start and makes sure that you pay attention to what’s going on. ‘Control’ has a more modern feel with a nod to Bullet For My Valentine. The instrumental Point Break starts off with some dreamy guitar work and works its way up to some impressive guitar soloing from guitarist Sean.

The second half of the album kicks off with the Machine Head-tinged Rise, another impressive track with the band showing how well they work as a unit. ‘False Disciple’ highlights vocalist Aaron, he has a touch of Billy Milano in his delivery. The album closes with the epic ‘Breathe’.

Unmaker have done themselves proud here, a strong album that definitely puts Irish Thrash on the map!

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Author: Kenny Kendrick

Black Sabbath – ‘Live Evil’ (BMG Records)

Black Sabbath – ‘Live Evil’ (BMG Records)

We’ve reached ‘Live Evil’ in the super deluxe reissues from Black Sabbath and whilst the box sets have been of the highest standards the last few Dio year’s releases have been something else. from the quality of the packaging and what in the sets for Sabbath fans it’s been the ultimate treat as far as reissues and remastered packages go they’ve truly gone the extra mile for the fans. So ‘Live Evil’ might get its critics for featuring the remastered vinyl and the original but I guess it would be live evil overload to include an extra live show as part of this set anyway seeing as the original was culled from various live recordings as part of the tour.

In this box, you have a hard case with superb artwork from the original as well as the heavyweight records but the cream of this package is the lavish 40-page hardback book depicting the Dio era of Sabbath which had its critics but it also took the band in a different direction of creativity and threw up the two mightily impressive studio albums that provide the majority of the material on this live album. As you’d expect BMG has done a pretty amazing job on the remaster as they have done on all the Sabbath box sets thus far and the inclusion of the book to muse through whilst revelling in the remaster is a beautiful thing.

Stop moaning about having a pristine 180gm version of the original and marvel at yet another top-tier Sabbath box to add to your collection. Adding Dio to the ranks of Sabbath was always contentious due to the shadow cast by Ozzy but Dio committed 100% to the task at hand and with one of the most amazing vocals in metal he delivered on all fronts holding his own in such an iconic role. The myths and stories about the recording of this record have never gone away but the one thing I can say is his vocals stand tall and are incredible after all these years and Wyn Davies has done a brilliant job on the remastering ‘Neon Nights’, ‘Mob Rules’, ‘Heaven And Hell’ easily stand up to the interpretations of Sabbath classics such as ‘War Pigs’ and ‘Paranoid’ and the monster version of ‘The Sign Of The Southern Cross’ is still a magical highlight from any of the band’s output.

With this being the band’s first live album it stands as a true testament to the awesomeness of Ronnie James Dio’s vocals and live presence. A masterpiece in live albums for many many people and on the evidence of this box set BMG and Camp Sabbath have done yet another truly awesome job. Add live Evil to your collection as a matter of urgency. Sabbath mark ii was truly a giant and rightly so. What next? ‘Born Again’ please and give some kudos to the Gillan mark iii era of Sabbath. Buy it!

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Author: Dom Daley

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The Boys – ‘Odds & Sods’ (Voraus Records)

The Boys – ‘Odds & Sods’ (Voraus Records)

Oh, not another one said some old lady about an election. I’m sure she’d say the same if she knew there was another Boys ‘Odds And Sods’, but wait, this one comes on red vinyl and has two new tracks and a wonderful booklet.

Found under Matt Dangerfield’s bed!, Matts’s bed must be huge if he keeps finding tapes under it of never before heard material and if it’s half as good as this then keep em coming I say. This album features an eight-page booklet with rare photos, a full lyric sheet, updated sleevenotes from Matt Dangerfield and two previously unreleased Boys demos. ‘You Better Move On’ The Boy’s first demo recording of their 1980 single, and ‘Love Song’ – Recorded by The Boys in November 1978. Written by Casino Steel & Matt Dangerfield in an attempt to make the Eurovision Song Contest.

Also to wrap up this must-have record there is also an additional 1978 Capital Radio Ad (not used on the original release) for “Alternative Chartbusters”. Recorded by Matt Dangerfield, Honest John Plain & Jack Black. Apart from the count-ins and demo nature of the recording you do wonder how some of these never made it onto a record sooner or how the hell they were left on the cutting room floor so to speak. the Synth stabs on ‘Mummy’ are proper new wave just as the new wave was becoming a thing. Interestingly it’s a John Plain composition whilst the lyrics make sense the synth stabs I’d have had them as a casino idea or even a Matt song but there you go.

I do love ‘We’re All Crazy’ from the buzz saw riff to the gang vocals on the chorus it’s pure Boys and if you know you know from the once round the kit that was unmistakably Jack I love it. ‘Pick Me Up’ is pure Python from the intro to the Kinks-like tempo and cheeky swagger. ‘Jimmy Brown’ is a belter always was and always will be this version is sleazy and cool and hands down beats Michael Monroe’s version but he knows a belter when he hears it which is why he covered this.

When you look at who wrote what on here Matt was making hay and in a rich vein of form, there’s a Beatles quality to ‘Flash’ and ‘Dressed To Kill’ is a great number from Duncan’s bass line through the Rock n Roll riff on the verse it’s certainly one of the best kinda songs that Andy McCoy must have etched into his DNA when he was looking for inspiration for Hanoi Rocks.

If you didn’t pick it up when ‘Odds & Sods’ first became available then this is a must-have. The songs are quality (obviously) and it’s a great addition to any Boys collection and with the extra tracks and booklet I can’t believe you’re still reading those cheeky radio fills are a blast from the past and a copy should be in a time capsule for how bloody good some bands were. Hit that link and fill yer boots before they’re all gone.

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Author: Dom Daley

Hanoi Rocks – ‘The Days We Spent Underground 81-84’ (Cherry Red Records)

Hanoi Rocks – ‘The Days We Spent Underground 81-84’ (Cherry Red Records)

Completists and people who have never heard of Hanoi Rocks keep reading. Everyone else not curious please look away and yes I know there are complete vinyl box sets out there as well as several one-stop box sets but there’s always room for another Hanoi Rocks catch-all set.

What we have here is a very neat and tidy summary of the world’s bestust band and all their hard work in one clamshell box spread over five CD’s. For those well rounded individuals who always knew Hanoi Rocks were the greatst band to emerge from the beautiful 1980s their musical output might well have been flawed and it moght well have been scatterguned over the early to mid eighties but they never dipped below better than anything else you were listening to and they alway did things differently to other bands and they were such an underated bunch of reprobates to ever lay down music.

It always makes me laugh when people say it’s music for fans of Guns N Roses or they were a glam band because your average supermarket music-buying Guns fan or your die-hard glam fan wouldn’t have a clue. Call me a music snob but Hanoi was far more than a glam band and it was they who influenced Guns n Roses and a whole bunch of tripe that was to follow in the decade of decadence. Hanoi was a rock n roll band who were more influenced by punk and what went before them in the 70s – a perfect mix of The Clash and T Rex as well as adding equal measures of early Japan with Chuck Berry they had Jaggers swagger and the elegance of Bowie and weren’t afraid to mix it up from disc on and the magnificent bass drum count in of ‘Tragedy’ with the familiar Yaffa rumble it has never ever lost its flavour. A youthful Monroe leads this bunch of renegades through a magnificent album with all its imperfections and charming backing vocals it’s still the beating heart of a magnificent journey and an album I’ve never tired of.

The skank of ‘Village Girl’ to the teary ‘Don’t You Ever Leave Me’. The Harmonica honk of ‘Lost In The City’ is still a magnificent blast of youthful energy – the levels are everywhere the mix is chaotic but that was the appeal, too fast too young too fuckin beautiful. McCoy’s vocals howling over the top is brilliant and the energy that drives on this record. Who else was doing songs like ‘Cheyanne’? it’s beautiful from the bv’s to the drum pound and runs down of the Yaffa bassline to the strain on Monroe’s vocals its still one of the greatest debut albums ever. I’ll fight anyone who disagrees.

The recent Svart real mix of ‘Oriental Beat’ this one brings on mixed feelings for me now and I wish and hope the others get the same treatment if it’s available. ‘Motorvatin’ is still a banger which is why it’s still prominent in today’s Monroe set. ‘No Law Or Order’ is still one of the best songs Strummer never wrote. Ending with ‘Falling Star’ was and is a tear-jerker of the finest order.

I’m trying to imagine what it must be like to take the plunge and hear these albums as one package for the first time and not have to wait in real time over half a decade for them to unfold. My memory is foggy due to the fact it’s 40 years ago (holy shit, but I’m still here) ‘Self Destruction Blues’ was or shouldn’t have ever been but thank god it did. A million miles away from the debut production-wise and songwriting wise but hell, it still gives me chills playing these songs loudly and whilst I might not have played some of these songs for years when I do I still get that feeling of “hell, what a band, what a record” how weren’t these one of the biggest bands on the planet?

Disc four is obviously ‘Back To Mystery City’ and where they truly hit their stride – every one a banger from ‘Malibu Beach’ through ‘Tooting Bec Wreck’ to the beautiful ‘Until I Get You’ one of the finest soft songs for tough guys ever written. Razzles’ touch and understanding of what was needed on the loud ballad is exceptional. ‘Lick Summer Love’ is awesome and sets the tone for the spectacular ‘Beating Gets Faster’ deep dive classics I think the kids would call these album tracks that don’t get the oxygen they deserve.

This box set might be a time capsule and something awesome to discover but to hear ‘Mystery City again for the first time whilst pawing over the artwork would be priceless and some kid is going to discover that when they pick this up in a record store or online. Imagine hearing ‘All Those Wasted Years’ for the first time and wishing you were forty years older haha! what a beautiful thought ‘Taxi Driver’ Boom heads gone!

Maybe if this had had a sixth disc full of unheard demos or lost tracks it would sell like hotcakes to the Hanoi (de)generation looking for a fix. If you know a kid whos just discovering music and looking for a collection that will blow their mind then this might just be the clamshell all encompassing boxset you need. If for no other reason other than being a completist sucker I applaud Cherry Red for keeping the Hanoi heart beating – God bless em and God bless all those who sailed in the good ship Hanoi Rocks you truly were game changes for some of us punks looking for our band. Buy It!

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Author: Dom Daley