Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

We’ve been banging on about Texas singer/songwriter Ryan Hamilton since before RPM was even a thing, and for good reason. Ryan is an artist who always seems to be on the verge of breaking through with every new album, before some personal tragedy scuppers his plans and he’s back to square one.

They say what doesn’t kill you makes you stronger, well that all depends on what is trying to kill you, I guess. In Ryan’s case it could be a cheating first wife, addiction, divorce, online abuse, the record business, cancelled tours and most recently…a delayed album due to manufacturing errors. All the above have happened in the last decade and you really couldn’t make it up, but Ryan is still soldiering on, and thank your lucky stars he is.

‘Haunted By the Holy Ghost’ follows his 2020 break up album ‘Nowhere To Go But Everywhere’ and the following lockdown album ‘1221’. Produced by go-to-guy Dave Draper who also plays bass, along with Ben Marsden on guitar and Carol Hodge and Emily Ewing on backing vocals. It was recorded at Draper’s studio The Old Cider Press and Ryan’s home studio in Texas, making the whole album a transatlantic power pop affair.

The opening song ‘Asshole’ shows Ryan’s current attitude towards the music business. It was released on Valentine’s Day as an act of self-sabotage guaranteeing zero radio airplay, which is maybe a silly idea if you are a struggling artist wanting airplay, but I’m sure he knows what he’s doing…. but its ok, because this album is choc-a-bloc with singles!

The title track is classic Ryan power pop, a radio-friendly earworm inspired by his Catholic upbringing. With an infectious hook and a euphoric feel, it is an early highlight. ‘Paper Planes’ again, is the sort of song Ryan first showed promise with on ‘Hell Of A Day’, full of quirky, power pop goodness and a euphoric middle section that takes it up a notch.

Ryan is never shy to pen an 80’s style power ballad or two, and for this album he has outdone himself. There are two ‘lighter in the air’ moments that could end up on future teen lovers’ mixtapes. The first ‘Overdose’ is not about drug addiction, but about falling madly and deeply, like ‘first love’ deep or ‘marriage material’ deep. You know, right? We’ve all been there. Elsewhere the emotive ‘Absence Of Love’, lyrically is the complete opposite to the aforementioned ‘Overdose, while full of heartbreak and yearning, it is still as emotive though.

A cover of Splender’s ‘Yeah, Whatever’ is given a lick of aural magic by Ryan and Dave Draper. Indie beats and those quirky vocals give the turn of the century alternative hit a new lease of life, as they do with George Strait’s ‘All My Exes Live In Texas’. This fun run through was a past single but shows its face here as a hidden track (it’s a homage to the CD era, kids!) after the closing song of the album.

‘Sad Bastard Song’ officially closes the 12-track album, and it is the best song here for several reasons. For one, I just love the countrified acoustics and pedal steel guitar vibes, and secondly the tongue-in-cheek lyrics may on the surface make it seem like a throwaway, comedic song for losers, but the stark reality is that these lyrics are from the heart and probably ring truer than you would think, and it’s probably my favourite song on the goddamn record.

It’s a sad fact that some of my favourite artist from the last 30 years will never get the commercial success or the critical acclaim they so rightly deserve. Times are tougher than ever for the underdog, but only one thing can make a difference…you, the music buying public. It would be a tragedy for an album this good to slip under the radar when it should be up there with the Adele’s and the Tayor Swift’s of the world, but how can Ryan compete with those big guns? Who knows, but maybe if when you finish reading these words, you were to click a link and buy this album, that would help just a little. I mean, c’mon, it’s worth it just for that cover art of Jesus in shades, right?  

Buy Here

Author: Ben Hughes

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.

The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.

The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.

The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.

I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.

Facebook

Website

Author: Dom Daley

Ravagers – Butyclan Music Bar, Barcelona 23.04.23

Ravagers – Butyclan Music Bar, Barcelona 23.04.23

I arrive at the sunny surroundings of Camp Nou on a match day where 100,000 supporters file past the salubrious surroundings of Butyclan Music Bar unaware that inside are four fearless Rock n’ Roll pirates navigating their way across Europe converting followers of sleazy punk n roll to their wild and wicked ways, but I know, for I’ve also travelled far and wide to be here for this show. So, imagine my horror when I enter the venue whilst local punks Black Babies are tearing into their LAMF retro punk sound but in Catalonian so I’m fucked if I know what they’re talking about anyway. It was downstairs to an underground lair housing a bar in a cage and not a lot else – a low ceiling and a shitty PA and that’s pretty much what you have. Hey, it’s only Rock n Roll right?

Ravagers take to the stage and immediately have sound problems and it looks like there isn’t a decent mic in the building let alone a PA that can handle some sleazy Rock n Roll hell it would struggle to handle a school sports day announcement but being the road dogs they are the band smash on regardless. They kick into the opening track with no vocals and the muddiest sound ever which is a shame because apart from all the problems not of the band doing they sound tight as fuck and the benefit of being on the road through mainland Europe is paying dividends. ‘Down The Road’ is their latest video so should be familiar to many in attendance but again no vocals it’s not until ‘Just Another Rat’ that we get some vocals in the mix which helps and finally we can relax and get on with some top-notch punk n roll. The band quickly get up to speed and is smashing songs old and new, ‘Blackout’ turns the temperature up a notch or two before ‘Drowning In Blood’ cuts the mustard and was dedicated to Baltimore knife crime and by now the band are flying.

Alex Hagen is doing a sterling job leading his gang somewhere between the swagger of Stiv Bator and a whippersnapper Johnny Thunders but he’s ably supported by Matt Gabs and Sam Hariss on Bass who along with the prince of pound Ray were stoking the heat in the engine room and pouring petrol on the fire out front as the tunes were coming thick and fast. ‘White Widow’, ‘Sick House’ and ‘Nasty Nights’ all sounded tight before they hit the jackpot with their cover of the Lord’s classic ‘Downtown’ showcasing the rhythm section and how tight they’ve become over this tour.

Before you know it we’ve hit ‘Cold Heat’ and the band is being told to get the hell out of dodge which only leaves time for them to rip through ‘High On Stress’ and we’re outta here.

With all the challenges of the room being inappropriate for a rock n roll show playing half the set in total darkness and the lights being a disco light and someone switching the house light on and off I kept waiting for Vim Fuego to fall down the stairs but hey ho oh and a 1980s PA, the band soldiered on and made light of their challenges and turned in an excellent set of Punk n Roll of the finest quality despite their testing surroundings.

Now, next time come to the UK at least for a couple of shows, I’ll be there singing along and championing some low down dirty, sleazy, punk n roll. God bless Ravagers for tearing it up across Europe on a proper tour playing Rock n Roll loud, fast n with the fury it deserves. Top turn, Top tunes top night out in sunny Barca. Gracias.

Author: Dom Daley

Facebook

The Atom Age/Bottlekids – Newport, Le Pub – 23rd April 2023

The Atom Age/Bottlekids – Newport, Le Pub – 23<sup>rd</sup> April 2023

There’s nothing better than the feeling of the sticky floor of your favourite local live music venue on a rainy Sunday evening, but just like the time just under a year ago when I first encountered tonight’s headliners live, I regret to say that once again the Covid social media warriors who swore they’d be at every gig if a venue would be brave enough to open during lockdown. appear conspicuous by their absence, I bet they’re probably all at home too busy posting about the national alert signal they didn’t want to go off on their mobile just a few hours earlier.

Ho hum, still those of us who are in da house, and I see quite a few new faces amongst those parting with their £8 (yup you can still do gigs for under a tenner folks) at the door, are in for a right rollicking night of live music make no mistake, and I can think of no netter way than starting things off than 30 odd minutes in the company of Chepstow based punk rockers Bottlekids.

Having not seen the trio live in quite a while it’s interesting to see (and hear) they’ve not only added a feisty cover of 3 Colours Red’s ‘Mental Blocks’ to their set, but also (to my ears at least) moved ever so slightly away from the more pop/punk edge or their earlier sound into a harder more aggressive direction. There’s still plenty of hooks and “woah ohs” to enjoy, but the band themselves appear have really grown as songwriters via their 2022 ‘Zilch!’ EP pushing the needles well and truly into the red and live they really are one hell of crack unit. Bottlekids really have been beavering away on the live front recently, playing gigs right across the country, and with plenty more shows on the itinerary for the rest of 2023, make sure you get out and support them, because as we all know, it’s always nice to discover a great new band you’ve never seen before (or in this case, not in a good while).

Which is exactly how I discovered tonight’s headliners, Californian R&B surf stompers The Atom Age. Sauntering in off the street eleven months earlier half realising a band I’d heard via a YouTube video a friend had sent me were playing Le Pub and then immediately being blown away, tonight, is going to be my first proper encounter with the 12 legged rock ‘n’ roll monster, as this time around I come prepared with a knowledge of the band’s back catalogue, but will it prove to be just as impressive as that initial encounter?

Well, it takes just a few seconds of opener ‘Honeybees’ to answer that question. Shake, rattle and rolling the always impressive Le Pub sound system The Atom Age launch themselves into action like an MC5 shaped musical torpedo and they aren’t about to miss the target. We, the audience. It’s fascinating to watch six musicians so seemingly different (visually at least) gel into such a formidable live force. From the Wilko Johnson meets Howlin’ Pelle Almqvist antics of singer/guitarist Peter Niven, to the Pål Pot Pamparius of the farfisa Fred Brott, there is an explosive edge to the band that is only balanced out by the uber cool saxophone licks of Brendan Frye and (and I’m still chuckling at the one) the young Jack Jarvis charms of anchor-man MC guitarist/singer Ryan Perras. Add to this the substantial bottom end powerhouse drummer Fat Tim and bassist Kevin Mohn and you have a band able to level audiences and venues in equal measure.

Set list wise the band are (perhaps understandably) still out on the road promoting their Covid impacted 2019 album ‘Cry ‘Til You Die’ (available tonight for just £10 on vinyl and £5 on CD folks…are you listening The Bronx?) as though it is a new record, and there are some actual newer tunes like ‘Til We’re Shakin’, a track custom made for any upcoming Tarantino soundtrack, plus the frantic BRMC-like set closer ‘I Was A Rock ‘N’ Roll Narcissist’ that indicate the future does indeed sound great for The Atom Age.

Of the older Atom Age tunes aired tonight it’s still ‘I Hypnotize’ that flicks all the switches for yours truly, the tune sounding not unlike an unreleased cut from ‘RFTC’ era Rock From The Crypt, and who couldn’t love that?

Elsewhere the aforementioned ‘Cry ‘Til You Die’ album gets represented by its soulful and sassy opener ‘Love Is A Numbers Game’, the strutting ‘Walk Through Walls’ and perhaps that record’s best cut, the glorious beetle crusher stomp of ‘Never Looking’ with its divine “woo-oo” vocal breakdown, all delivered to absolute perfection.

And if its something from the Blag Dahlia co-produced ‘Hot Shame’ album (also available for just £10 on vinyl and £5 on CD folks) you are looking for, then there’s the Hives on steroids blitz that is ‘It’s A Mess’ plus the album’s equally excellent title track for you to shake your Sunday night tail feather to.

The only downer for me tonight was it was all over way too soon. The Atom Age really are a very special band indeed, flying just under the punk rock cool radar (which at the moment seems to be distracted by any band coming out of Australia) but just the same delivering total annihilation wherever they play.

Catch The Atom Age wherever you can… they are incredible!  

Author: Johnny Hayward

Killer Kin – ‘Killer Kin’ (Dead Beat Records)

Killer Kin – ‘Killer Kin’ (Dead Beat Records)

A marriage made in heaven is Killer Kin dropping their debut album on Dead Beat Records. Killer Kin are a wild and reckless power Garage band kicking out the jams loud and fast and through the medium of some killer tunes channelling the spirit of Ron and his bro Scott via the heart n soul of Stiv and a whole host of cool cats from the MC5 to motorhead its all in here kids and you just need to cut loose and go with it.

New Haven is where it’s at, yup Connecticut rock n roll central baby. from the opening salvo of ‘Mr Dynamite’ you are under no illusion of what this is about. It’s hedonistic fast n furious here for a good time and not a long time as the roar of the bass guitar rumbling like a freakin freight train. It’s high adrenalin little Richard meets Lemmy rock n roll with some Chuck Berry thrown in for good measure captured on old school analogue with the needle firmly placed in the Lo-Fi red just the way this high octane shit was meant to be.

the bottom line is this – if you have the fire then you can dance with the devil and tame the savage beast and Killer Kin just nail it ‘On The Chain’ is moving and shakin like a shitting dog grooving on the Stooges riff and doing it so sweetly its a beautiful thing. As you stagger through the ten tracks on offer you are left wondering how bands like Killer Kin aren’t at the top of everyones list for bands to champion. ‘Stunner’ is rapid, ‘Hound Howl’ is thuggish fury as it blasts from start to finish – Gawd damn I love this record it makes me want to run through a brick wall.

Hang on a minute ‘Damned And Doomed’ is a slice of Dirty Deeds DC done through the medium of Garage punk and when it shifts seamlessly through the gears it gets punchy. ‘Motorbanger’ paves the way for ‘Sonic Love’ which is just about the peak of this record as it evokes the reckless Jim Jones rockin’ out with Jerry Lee on a long lost Hip Priests banger. What a killer record this is, 100% sonic energy like a rocket in a bottle that’s just been shaken and exploded everywhere I only wish there were more bands like this who cut loose their influences and ran with it spilling their heart all over the stage and capturing it on tape to share with the world. As the band sound like they’re about to spontaneously combust on ‘Shock Collar’ it only leaves the honking ‘Cross That Line’ to burn out and not fade away.

What an explosive record, full of energy and style it swaggered in like a fuckin peacock with a heart as big as the Stooges and blasted out like the bastard sons and daughters of the MC5 in full flight. Fan-Fuckin-Tastic they are the future and not the past they sing as it crashes and burns and asks what we think about that. Well, I think they’re bang on and I’m here to testify that this record can and will make you more desirable and live longer. Absolute Banger!

Buy Here

Author: Dom Daley

Glen Matlock -‘Consequences Coming’ (Cooking Vinyl Limited)

Glen Matlock -‘Consequences Coming’ (Cooking Vinyl Limited)

Anyone who can see further than the end of their nose will be aware that Mr Matlock’s musical output has been nothing short of outstanding. From his contribution to the Bollocks album right through the Rich Kids and into a very impressive solo output, Matlock has ended up raging against the machine, spouting sense on TV lately about our current government and crazy decisions and acts of self harm that have been manipulated into many people’s noggins that its the right thing to do.

Matlock has always seen the wood for the trees and has always been able to turn those views and beliefs into palatable music and performances. From ‘Good To Go’ or ‘Born Running’ he delivers excellent records whilst other former bandmates get the fanfare for delivering very little but not around the corridors of RPM Online we know the real deal and who delivers the goods.

This latest offering from Matlock kicks off quite literally with the spikey and right-on-the-money, ‘Head On A Stick’. Lyrically on point, and pulling no punches he’s kicking against the pricks and all power to him because he’s wrapped it up in a bloody good tune as well.

‘Consequences Coming’ is the sound of a man whos reaching the end of his tether with stupid people and stupid situations led by stupid people and I like it it works well for him and is bringing the best out of him that’s for sure. Coming out swinging the title track carries a strong melody with a great lyric. It would be easy for an artist like Glen Matlock to just say fuck it I’m alright Jack but the gap between his last record and this has fired him up (and rightly so).

The guitars are kept raw and the songs are rockin’. There is a swagger to this record Matlock knows he can write a tune when he wants to and ‘Magic Carpet Ride’ is a great example of this. He’s not reinventing the wheel here just rolling with it and writing excellent songs with it. The groove of ‘Speaking In Tongues’ works well as the band he’s assembled are delivering in spades. the curveball of adding a KD Lang cover mid album also works well as the record needed a change of gears and his vocal is excellent.

‘Step In The Right Direction’ is a handclapping stomper as more fuel is poured on the fire. ‘Something About The Weekend’ carried the torch with a really good rhythm showing you can make an angry album but still have a fuckin great time doing it. ‘Face In The Crowd’ introduces some power pop to proceedings which is something he’s always done. He can write a great melody and has surrounded himself with a band that can deliver his vision be it aggressive or a softer, more pop rock. A Glen Matlock delivers a record that covers a lot of bases both musically and lyrically and he always hits the mark, it’s not luck it’s judgment and class how he managed to make so many great records and this latest offering is going to be right up there with his best records. From the first few spins it resonated and as I’ve got more familiar with it it’s gotten better and better – damn he even does a slow dance doo wap in the shape of ‘Tried To Tell You’ and it wreaks of authentic 50s chops from the brush of the snare to the heart bleeding solo and best of all it doesn’t sound out of place on this record.

Leaving the final two cuts to be classic Matlock rockers ‘This Ship’ is cutting through choppy water with consummate ease and Matlock’s torch is burning as bright as it did the day he wrote Anarchy fifty years ago and I love that. Glen Matlock’s ‘Consequences Coming’ is a must-hear album. Buy it, play it, love it!

Buy Here

author: Dom Daley

The Damned – ‘Darkadelic’ (Ear Music)

The Damned – ‘Darkadelic’ (Ear Music)

Half a century of Anarchy and Chaos and a bit of downtime as well to be fair, but in the main, The Damned have never let me down and when their output has been; shall we say less than palatable they’ve delivered live over and over and they’ve kept evolving and therefore keeping themselves relevant as they move into the twilight years disgracefully still making new music and hit or miss doing it their way and I love that about the band. A friend once described The Damned as his Beatles or Elvis and I totally got that because their my Rolling Stones as well God Bless them and all who sail under the Damned flag.

Anyway ‘Darkadelic’. Seemed to rise like a phoenix with the first couple of tracks leaked out into the ether with videos and like Marmite fans either loved it or loathed it there can be no in-between it would seem. The recent tour they’ve undertaken was punctured mid-set with the whole album played in its entirety and for some it was unwelcome and for others (like me) it was most welcome (let’s be honest here whilst its always nice to hear New Rose and Smash it up I want to hear new songs especially if they are decent and that’s where I have to begin these songs are indeed pretty bloody decent).

This is not The Damned who released ‘Machine Gun Etiquette those days are gone – time moves on and that is their past neither is it The Damned who hit paydirt during the MCA years of lift music and if I’m honest I didn’t much like the last studio outing either but this is a more focussed record, a more energetic record and the songs stand tall and have plenty of punch that was certainly missing off the last release. These guys don’t sound like men who should be on their allotments rather than making a racket in Acton studios weaving their Gothic, psychedelic ditties that have melody and relevance in the year 2023.

Starting with the mid-paced ‘Invisible Man’ is Vanian rolling back the years and delivering a masterclass in Gothic vocal and melodies that is instantly recognisable whilst Sensible again shows he has the chops that he probably doesn’t get enough credit for as far as openers go this one is strong.

One of the songs that worked best on the recent live shows was the energetic ‘Bad Weather Girl’ where a Sensible vocal works best and the swirling keys add atmosphere to a top tune punctuated by that unbelievably hypnotic flurry of bass notes courtesy of the maestro Paul Gray as the song weaves its course through some impressive soloing from the Captain. To follow it up with the riff-heavy ‘You’re Gonna Realise’ with its sumptuous chorus that changes gears in a classic Vanian way and the trinity of Sensible Riffola meets Gray’s thump topped off with Vanians ear for a twisted melody is majestic.

Next up is the Damned doing their best political commentary on ‘Beware Of The Clown’ built around another impressive chop from Mr Sensibles six-string as Gray weaves in between the strokes. There is more than enough dirt being spat from the speakers as Vanian strokes your ears with his lush deep tones.

So far so good, I hope we’re all sitting comfortable and used the bathroom as ‘Western Promise’ has a ‘Black Album’ meets ‘Phantasmagoria’ feel to it. Another excellent vocal for Vanian. That Gothic haunting style the band do so well jostles to be heard on ‘Wake The Dead’ and half way through this record and I’m quietly impressed so far. This record is instantly gratifying and also slow burning therefore messing with my reviewers ear. I’m waiting for the next one to maybe hit the buffers but its not happening and there is a little voice inside my old head screaming at me, “this si why I love the Damned” they deliver the good when I wasn’t expecting it and thus far in there is no filler only songs that are taking me to various places through their career and dumping me in the here and now 2023 The Damned are churning out excellent songs on an excellent album and I love it.

‘Follow Me’ is a bonafide garage rock stonker. Then, follows that with the barking rabid dog that is ‘Motorcycle Man’ and give to give Monty his props he fingers a mean swirling Garage organ (oo-er Mrs) throughout and it’s not overpowering but sympathetic to the songs and works a treat adding another texture to the most welcome guitar heavy songs. ‘From Your Lips’ lays back as the penultimate offering is lowering the heart rate with yet more sweet solos that elevate already impressive songs.

Finally we reach the end and ‘Roderick’ sees Vanian get his brushes out to paint one last gothinc masterpiece, his tongue firmly in his cheek for a candlelit finale of epic, not too overstated grandiousity that only the Damned can get away with and once again Vanains vocals deliver sounding like a man half his age. since James left Vanain moved forward from the shadows and grew into his role and has spent the last 30 years showing why he is at the top of his trade and has no equal, a masterclass of dark arts and velvet smooth tones a great twist at the end of a very impressive album.

It’s been a crazy half-a-century journey for Vanian and Sensible and all who sail on the good ship Damned. If this is to be their last studio recording then they’ve delivered a smouldering, punchy masterclass, at times sensitive others astute and always on their terms. God I love the Damned and ‘Darkadelic’ is a welcome release into a catalogue that has more ups than downs as well as a smattering of magic moments that haven’t been equalled by anyone. It once again shows how bloody good they are at their chosen craft. Long Live The Damned and their Darkadelic brilliance.

Buy Here

Adventure Playground – ‘Alright Already’ (Self Release)

Adventure Playground – ‘Alright Already’ (Self Release)

Pop punk from Oakland California. Now where have we heard that one before? Sure it’s the home of all things Gilman Street and some. From little acorns and all that, those punks took over the music world for a period and still hold a sizable fond spot in the hearts of millions so it’s always gonna be tough to come out of that very same scene and not be compared to what went before you. Anyway, Adventure Playground might well come from that spot on this spinning rock and they certainly play their version of punk pop with brash guitars and sunshine and heartfelt melodies.

Bay Areas, Adventure Playground became fast friends at music summer camp in Cazadero, CA. After graduating high school the group spent the next 10 years spread out around the country honing their craft. Opener ‘Alright Already’ is a rapid, clanging danceable slice of abrasive punk rock with a strong melody and some sharp playing they clearly arent your johnny come lately punk kids.

It’s a very American-sounding record and the vocals and a lot of the bass lines remind me of Anti Flag which is a good place to be for this style of punk rock. Saying that ‘He Said She Said’ reminds me of vintage Blink 182. Is there a genre called jazz pop punk? well, there is now as the ‘Fried Fish Junk’ is a blitzkrieg of jazzy punk, not getting it? play it and come back to me. ‘Living On Sunshine’ sounds like it should with big open space riffs and a huge grinning melody. It sure is pop punk but there’s a lot more going on here with the jazzy exerts and the big ballad-like rock of ‘Walking Away’ followed by the haunting ‘The Ballad Of Russell Rose And His Trusty Steed’ but wait halfway through it breaks out into a romp to the finish line. leaving just ‘New Plan(et)’ to sign off this nine-track debut.

I’m sure live theres plenty of goofing around on stage but these guys can play and they put every ounce into these songs. Pop punk with a twist is something that lights your fire then Adventure Playground is a band you should fully invest in.

Buy Here

Facebook

Cock Sparrer – ‘The Decca Years’ (Cherry Red Records)

Cock Sparrer – ‘The Decca Years’ (Cherry Red Records)

Ah ‘The Decca Years’, It’s the first time on vinyl (other than the picture disc version), Finally Sparrers Decca years gets it’s dues.

Thanks to Cherry Red Records you can now add this fantastic record to your collection. Fourteen tracks pressed on black vinyl for the first time it features everything seminal Oi! band Cock Sparrer recorded during their time with Decca Records in the late 70s. Bosh!

Of course, it’s therefore crammed with classic live favourites, ‘Runnin’ Riot’ and ‘We Love You’ plus ‘Sunday Stripper’. It’s in great company here rather than just buried on the legendary ‘Oi! The Album back in the day. still revered as the go-to scene compilation and is often fondly talked about in punk rock circles because of the inclusion of songs as good as ‘Sunday Stripper’.

As with many Sparrer records this one is limited, so if you snooze you will lose. To draw you in, this version comes in a splendid gatefold sleeve complete with an inner picture collage and stacks of memorabilia from the era. Current guitarist Daryl Smith has overseen the artwork layout and therefore it has the authenticity it deserves from inside team Cock Sparrer. It adds to the release and you’ll love it when pouring over the pictures as the album blasts out of your speakers.

It’s hard to believe it was the bands 50th Anniversary recently and many of the tracks featured on this compilation are still the staples of their current live set and stand tall alongside more recent tunes.

‘Running Riot’ is a great opener and the aggressive punch of ‘Chip On My Shoulder’ sounds exactly as the title suggests. If you are new to Cock Sparrer then this is the perfect place to start your journey down that rabbit hole From the snarl in McFaulls vocals to the rawness of the riff, culminating in the solo that hacks and slashes, it’s such a great song. There is no chink in the armour of Decca era Cock Sparrer, not for a single seccond does the energy drop, nor does the quality of songwriting, Mixing punk rock with hard rock wasn’t easy back in the 70s but Cock Sparrer used their influences when songwriting from the hard rock of ‘Platinum Blonde’ and the twin guitar duelling to the amped up charge of ‘Teenage Heart’ these songs are simply brilliant and to say that after 50 years is not to be sniffed at. There aren’t many artists who can claim to have written songs that still sound fresh after four decades.

Had Slade or Thin Lizzy boogie Woogie like ‘I Need A Witness’ people would have championed it for many years no doubt about it. That’s not even going near the classics like ‘Sunday Stripper’ that had someone like Steve Marriott penned it would be huge, I kid you not but these influences are all in these songs even the snottier punk songs.

When you get to ‘What’s It Like To Be Old’ you can smile back and say it’s alright to be fair, even if I’ve waited this long to get these on one LP in their original state this old lark has such a great soundtrack. The Decca Years is an essential purchase for anyone who loves guitar-based Rock n’ Roll exactly how it should sound. But take my word for it you’ll have to be quick because these will be snapped up sharpish. Lace-up those Doc Martins and get a sprint on – this will sell out. Buy It!

Buy Here

Author: Dom Daley