When you begin your musical career by releasing a debut record as genre defining as ‘Appetite For Destruction’ or The Stone Roses’ ‘Self-Titled’ album you’re always going to get people asking if the new one is as good as that record. Dirt Box Disco have that very same albatross hanging around their necks too as their debut ‘Legends’ is easily one of the best UK punk rock records of all time in my book, yet somehow, they’ve managed to dodge that metaphorical debut bullet, largely because they have consistently released strong follow up records ever since that astounding album first appeared back in 2012.
Here in 2023 with the imminent release of the band’s eighth studio album, ‘Rokapokalips’ what strikes me now, perhaps more than ever, about the “almost veteran” Dirt Box Disco, is that (to my ears at least) they have more than just a proclivity for atrocious spelling in common with a certain 70s/80s rock band from the Black Country known as Slade.
Okay granted the opening word from singer/guitarist’s Spunk Volcano masked mouth to introduce ‘# Bollocks’ is never going to be viewed in the same endearing way as Noddy’s immortal “Baby, baby, baby” holler, but there is just something about this all new ten track record from the Dirt Box gang that immediately makes me think of Slade’s early 80s renaissance, and I’m not exactly sure quite what it is.
Perhaps it’s the fact that the band (by their own workaholic standards) have been a bit quiet of late, or that whilst the terrible musical chemical laboratory experiment that helped create Dirt Box Disco will forever be embedded within the band’s musical DNA, here on ‘Rokapokalips’ they’ve broadened their sound palette to include a touch of ska during the verses of ‘Kill The Music’ (just like Slade embraced the Celtic jig to once again attain chart success) and in ‘Land Of Hope & Glory’ Spunk, Maff, Danny and Chris have a song that could very easily sit on a Cockney Rejects or Cock Sparrer album (and Slade were of course as equally at home playing to punks and skinheads as they were heavy rockers back in the day).
Granted these are only very tenuous links though, largely used to bring an album you’ve yet to hear fully to life and I should add that this is still very much the Dirt Box Disco we all know and love, albeit there are just enough new things going on to keep us all thinking, whilst also singing along, and of course smiling, as one listen to ‘Up The Dirtbox’ (fnarr, fnarr) will no doubt prove.
After the knockout punch that was ‘TV Sex Show’ the band’s 2020 debut Weab-less record, it was always going to be tough to follow the likes of the glorious ‘Unstoppable’ and anthemic ‘Barebones’ where the band had sounded revitalised, but when you have the songwriting machine that is Spunk Volcano revving his engine and penning such instantly memorable tunes as this album’s title track, the insanely hummable ‘Cinderella’s Motorhead Tattoo’ and ‘I Don’t Wanna Go Without You’ (yup I had to read it more than once too) you’re never going to be a shortage of amazing songs with which to fill your next record. Just give top sing-a-long-a-Dirtbox ‘Happy Pills’ a play and tell me I’m wrong. It’s a song chock full of the band’s trademark “Woah Oh” gang vocals, albeit here the underlying lyrical theme does appear to be a little darker than usual.
For those of you who have pre-ordered ‘Rokapokalips’ from Avenue Recordz directly you should be getting your CDs and LPs anytime soon, and for everybody else the album is being released on July 21st, but you can also hit THIS LINK and get the masked menaces to send you your copy pronto!
And remember, “We’re strong, together we are stronger, and we don’t quit, Dirt Box Disco Armageddon, Rokapokalips”
What a weekend to be in the big smoke. Pulp in finsbury Park, Def Leps and Mutley spew in Wembley Stadium, Pride and Iggy in The Palace (Crystal Palace that is), Oh and The Dirty Strangers in Kilburn. I arrived just in time to join the snaking queue halfway round sarf of the river but to be fair it moved quickly and bag check was smooth amist all the horror stories of recent events at this venue. Now I could rant all day about the vendors charging an arm and a leg for refreshments and the coast of a 99 or screwball would have my nan turning in her grave but I wont. I chose to be here and whilst I don’t like big outdoor shows where you know youre heading for a good fleecing I don’t really now what the answer is – I could stay away but then I’d be cutting my nose off to spite my face and I wanted to see some bands I probably wont ever get the chance to see again so it is what it is. Oh and I wont mention the cost of merch these days or a poster for £30 so lets get on with the show.
First up today in the baking heat of the SE19 summer sun are Brighton punks Lambrini Girls, a trio the mainstream press has already called Iggy Pop’s favourite new band, and you can immediately see why Mr Osterberg would like them as guitarist/singer ploughs straight into the crowd as the band unleash their very own brand of ‘Big Dick Energy’. The only problem with doing this on such a big stage/large scale event being that apart from the front six rows (who will probably all be there to see you already) no one else in the audience really knows what the hell is going on even with onstage cameras present. So, whilst some get to experience the danger up close and personal, me, I’m left waiting for the inevitable TikTok videos to emerge. Next!
Buzzcocks, My first-time post-Pete, and whilst I grew up loving these songs I was too young for the early days of Buzzcocks I did catch the reunion shows and beyond which is still 30-plus years. I thought they hit a particular high on the pre covid renaissance they were enjoying especially at Rebellion where they properly understood how to do festivals and cram your best into an hour or so. On this day I thought Diggle did particularly well with Pete’s vocals, and whilst there is an inevitable Pete-sized hole it was great to hear those classic Buzzcocks songs perforating the Sarf London air once again. With a dozen songs crammed in from the opener ‘What Do I Get?’ through the groovy ‘Why Can’t I Touch It’ it was my favourite Buzzcocks songs that touched my heart once again, ‘Promises’ and the set closer of ‘Harmony In My Head’ via ‘Ever Fallen In Love’ – Whilst I was happy for Steve to get such warm and rapturous applause I did let my mind wander and that Shelley void was so apparent but I’m sure he’d have looked down and been pleased for his old mates to still be carrying the torch loudly and with such passion and conviction. Easily some of the genre’s finest songs right there in the warm Capitol sunshineeee.
Right thick and fast it is as Rusty Egan spins a few discs before SLF join the party and to be fair they brought their A-game and threw out a set of bangers from start to finish. Burns announced early doors that he wasn’t going to rabbit on and instead was going to play as many songs as possible and true to his words it was something of a best of from ‘Tin Soldiers’ into ‘Nobody’s Hero’ and ‘Roots Radical’ there couldn’t have been anyone inside the park who could be disappointed with that hattrick of tunes.
With a cover of the Specials ‘Doesn’t Make It Alright’ placed in the middle of the set it was heads down and off we go as they peeled back the years for ‘At The Edge’ before signing off with a triumphant trio in ‘Gotta Getaway’, ‘Suspect Device’ and finally the anthemic ‘Alternative Ulster’ and their work was done. A crowd that could only have been happy with that set as they were rightly applauded off the stage.
Next up was the set from Generation Sex that a lot of people had high hopes for and when the four gentlemen ambled onto the stage and kicked off with ‘Pretty Vacant’ I thought Cook was his rock solid best and hasn’t aged for about 30 years. Stoking the fire in the engine room throughout the dozen songs. It was a delight to see a slimmed down Jonesy cranking out those riffs on his trusty Les Paul I have to say after ‘Ready Steady Go’ and ‘Wild Youth’ by the end of the set I thought it was the Gen X tunes that ruled the day. Idol singing from a teleprompter seemed a little unnesasery and it was distracting him from what he does best. It might have been nerves or wanting to give it his best, but, I wanted Idol to own the stage and prowl around snarling, sneering and fist punching his way through the tunes but he seemed a little held back which was a shame, thats just my feelings. Anyway, The band weren’t the tightest but who cares? It was a joy to hear those songs, be it ‘Black Leather’ or ‘Kiss Me Deadly’.
After a weird ‘Silly Thing’ maybe Jonesy should have taken the vocals it would have made sense. The highlight of the set for me was a stonking ‘King Rocker’ which to be fair obviously Idol was more comfortable singing his own songs and signing off with ‘Your Generation’ it was then Jonesy finally, got to crank out his signiture Chugg on ‘My Way’ through what has to be said was a crystal clear PA. All in all I was well happy with the set and great to see Jonesy looking and sounding so good. it was what it was punk rock royalty having a blast and kicking out some tunes they wrote many many moons ago. Under rehersed? so what. Sloppy? Fuckin’ right ! Quality? Absolutely.
Next up, Blondie. With a catalogue of hits, every man woman, and child knows the words to bar none. To be fair they’ve been clocking the air miles pretty hard this summer with festival appearances a plenty as well as headline shows all over the place. so, it was expected they would turn in the most polished set of the day on what was icon Debbie Harry’s Seventy Eigth Birthday! Take that in for a minute, and appreciate her brilliance. singing songs that go back almost half a fuckin’ century and still delivering them live without a safety net. She could easily phone in the vocals but that’s not how she’s ever rolled. Her body of work is unrivaled by most other bands who’ve been in the game for years and no doubt soundtracked many in attendance youth and beyond. I’ve seen the debates about phoning in performances from the likes of Guns N Roses to Blondie to anyone over the age of Fifty but I think those people are way off piste after watching how hard the band hit it and knock out a fourteen-track greatest Hits set for the umpteenth time this summer all over Europe and beyond. She’s 78 so why would I expect her to sound like she was in her twenties how many people do? anyway that’s a debate that will rage on and I very much doubt she or anyone else on this bill gives two flying ducks about and rightly so. ‘One Way Or Another’ a punchy ‘Call Me’ through ‘Will Anything Happen’ via the awesome rap in ‘Rapture’ the minutes were flying by as Blondie we’re on fine form and when you see them live you realise how many fantastic songs they have at their disposal with four times as many that its not possible to perform.
With it being Debbies Birthday it seems crazy to think I’ve had many of these songs in my ears since I was in junior school. Call it nostalgia or Blondie Lite without Chris Stein and the other original players but mainly Chris it’s still a thoroughly entertaining set of absolute smashers played by a top-tier band from the youth youth youth flanking the incredible ms Harry via the iconic keyboard licks and that’s not forgetting new signing Glen Matlock and the machine that is Clem Burke who, as it goes still has the best feather cut barnet in Rock n Roll and an unrivaled stamina. Fan-Bloody-tastic set.
Right, the sun is setting in the distance and we shuffle closer towards the stage for what will most likely be the last time many of us get to see Iggy on a stage in the UK. Something I’ve probably been overthinking for weeks, days, and hours. I’ve seen many Iggy shows in many venues and have never ever been disappointed. My first was the Instinct tour which I’ve reminisced over way too many times right up to the last Stooges reunion which was another moment in time to savor such was its spectacular soundtrack. This seventy-six-year-old man I’m waiting on still has the exuberance of a child and the energy of a herd of wildebeests outsmarting a street-walking cheetah looking for a meal. As the PA sparks into life and the band emerges from the shadows the show begins before Iggy rushes on stage and instantly he’s lost his shirt as ‘Five Foot One’ bursts into life and collides with ‘TV Eye’. This is already sounding epic with the addition of the brass section that was taking these songs to places I’d never imagined.
‘Modern Day Rip Off’ was the first new song to get aired as the audience seemed to generate a liquid-like state as it moved and swayed to the rhythm as the brutal ‘Raw Power’ was only slowed in its tracks by ‘Gimme Danger’. Once again Iggy has assembled an incredible band and a special mention has to go to the rhythm section who absolutely nailed it sending shivers down my spine as the dry ice wafted into the darkening south London sky.
I suppose there have to be the expected songs played such as the ‘Passenger’ and ‘Lust For Life’ get aired before the first curve ball of ‘Endless Sea’ lets Iggy take five and perch himself on the wedge whilst he reenergizes for ‘Death Trip’. The set was motoring on and I was trying to savor every second whilst trying to shut out the age debate I had nagging in my head just as Iggy fell to the floor and began barking at the excited crowd which could only mean ‘I Wanna Be Your Dog’ was up next again with the inclusion of the horns it was a stroke of genius before ‘Search And Destroy’ sent some insane.
Encore already? Damn, I don’t want this to end as Iggy hit the cruise button, and ‘Mass Production’ followed by the epic ‘Nightclubbing’ was dispatched. Hell, the clock was ticking to curfew so it was ‘Down On The Street’ followed by the sleazy giant that is ‘Loose’ and I think I had a spec of dust in my eye as I headed towards the exit to catch the finale of ‘Every Losers’ opening shot of Fuck You that this man has done for over fifty years. There seems little sign of him “taking it easy” and to think he’d phone in a performance is blasphemy ‘Frenzy’ was the best way to sign off a fantastic day of music from some of the genre’s finest bands, with a songbook that won’t be bettered anywhere in London over this manic weekend or any other to be fair Dog Day Afternoon was a spectacle I was proud to say I was there and if I never have the pleasure of seeing most of these performers again it was an absolute pleasure and never ever a chore.
Tommy Stinson Should need no introduction however there might well be a whole generation who’ve not had the chance to appreciate the genius of his work be it as an integral member of The Replacements or his solo work, Perfect, Bash & Pop or as a member of Guns N Roses or Soul Asylum. His catalogue of work is extensive as its magnificent and has stretched over four decades. is a revered American musician who has enjoyed a significant four-decade-plus career. He’s appeared on recordings by the Old 97’s, Moth, and BT, plus played bass on Puff Daddy’s ‘It’s All About the Benjamins (Rock Remix)’. There you go kids go look that lot up and then bow down at his feet.
Stinson’s latest venture is Cowboys in the Campfire. A duo with Chip Roberts, their debut album ‘Wronger’ is Americana as apple pie or a star-spangled banner, and whilst he’s dabbled at various points it’s always been fleeting. This bad boy is on a well-trodden trail on horseback with his buddy and they’re suckin’ on cigars and twanging them strings be it Ukulele, pedal steel, or yeehaw, sorry I mean guitar. The very first song, ‘Here We Go Again’, sets the tone; Stinson is on ukulele, singing about the ardors of creativity, while horns swell and the only hint of percussion is from the tapping of feet by the musicians in the room. Toss another log on that there fire boy.
An obvious hanging post would be some Steve Earle and of course, Johnny Cash it’s broad and passionate from the rough ‘n’ ready rockabilly of ‘That’s It’ its a thigh slapping salamander stick thumping banger. ‘We Ain’t’, is authentic and heartfelt, and that’s what draws you in. Other songs such as ‘Schemes’, ‘Souls’ and lead single ‘Dream’ prove the man’s genius at this here songwriting thang be it punk rock or pop and some country has got the whole shooting match sorted. what an ace pop songwriter Stinson still is. If this is the best ten songs he had then his work here is done and he knows it’s nailed.
The genesis of Cowboys in the Campfire actually dates back over a decade. Roberts is the uncle of one of Stinson’s exes and was previously a gun-for-hire guitar slinger. “We’ve been really good friends and writing partners pretty much since we met, writing rock tunes to ballads or country or Americana,” explains Stinson. Neither expected their association to become a going musical concern, but the mid-2010s saw a Guns N’ Roses hiatus prior to Stinson venturing into Replacements and Bash & Pop reunions, so things got a little more serious. “We thought, ‘Let’s go play some shows and fuck around.’ I took some songs he and I had written together, some of my solo stuff, some covers, some other stuff of mine he plays.”
‘Schemes’ is a lush ballad with a swirling organ and a gently picked guitar with a tear-jerking vocal melody superbly delivered. Hell, they could have headed to Memphis and locked themselves away in an office out the back of Sun Studio and worked 9 to 5 to get these done and the living breathing proof would have to be ‘Fall Apart Together’. After only having the briefest time together listening to this I’m sure some Stinson fans will be disappointed it’s not a full-throttled rocker but given time to get used to it I’m sure they’ll appreciate its songwriting genius or if they’re sad about it they can listen to the tear-jerking ‘Hey Man’.
By the time we get to ‘We Ain’t,’ the guys in the band are cooking and there’s plenty of meat on the bone with some lovely twanging going down over the solid acoustic chords. As the album moves gracefully to its finale with ‘Souls’ via some wonderful hazy slide guitar.
This really impressive record waves goodbye with the poptastic ‘Dreams’ with its late-night vocal and honking guitar its signs off in style, with a doffed stetson and a cowboy shirt it’s so long from Tommoy and the gang until next time just don’t take another decade unless you fancy doing another Bash & Pop or pretty please Replacements, but this will more than do. Now throw some ribs on that campfire and let’s do this again.
IGGY AND THE STOOGES are the subject of a lavish new coffee-table book.
Clocking in at 300 pages, ‘The Truth Is In The Sound We Make’ and features many rare and unseen photos as well as previously unpublished fan pics covering the Detroit legends’ concerts and recording sessions from 1967 to 1974 – so no solo Iggy and no latterday reunion pics. The text features a complete listing of Stooges shows and recording sessions collated by author Per Nilsen.
Published by Wintergarden Books, the sister company of Easy Action Records, the label behind many Stooges rarities, the 14” x 11” The Truth Is In The Sound We Make is presented in a limited print run of 800 copies, with a super-limited edition bundle of 150 numbered copies, including two high-definition 8×10 live shots, a high grade art print, poster and bookmark.
UNSPECIFIED – CIRCA 1970: Photo of Iggy Pop Photo by Tom Copi/Michael Ochs Archives/Getty Images
Last night (01/07/23) Def Leppard took to the stage at Wembley Stadium, this was a bucket-list gig for me having wanted to see them since 2009! They shared the stage with Mötley Crüe, which is enough to get any rock fan excited. I’ve been brought up in a family where music is special, and sharing experiences with those within our family means a lot – from this gig, it’s evident that it’s not just us, but a trait of the rock community. I was surrounded by people that crossed generations and a mini rocker singing along to hysteria brought so much joy to me.
After arriving at Wembley, the sight of the relatively empty stadium was a reminder of the extortionate cost of these tickets and challenging times we live in. From those I spoke to, there was a general sense of confusion as to why such a large venue was chosen for this show as it was unlikely to be a sell-out. Although the absence of a packed stadium was a disheartening backdrop, Def Leppard’s ability to fill the stadium with their music and create such a powerful experience speaks to the talent that they have.
Def Leppard’s setlist of 17 songs was a collection of greatest hits, pretty much guaranteeing every fan’s favourite was given the spotlight. The setlist included: ‘Let’s Get Rocked’, ‘Rocket’, ‘Hysteria’, ‘Rock of Ages’ and ‘Pour Some Sugar On Me’. One of the standouts for me was their performance of ‘Bringin’ on the Heartbreak’ – the ability to seamlessly blend rock energy with heartfelt emotion was something special. Throughout the setlist, the band blessed us with their exceptional musicianship, seamlessly weaving in guitar solos, bass lines, and thunderous drumbeats. To me, they’re withstanding the test of time, and continue to deliver top-tier performances.
Def Leppard surpassed all of my expectations. Joe Elliot’s vocals felt age-defying? Generally, we expect (and accept) that over time vocal abilities diminish but the power behind his voice was phenomenal. Rick Allen’s ability to create such a powerful and dynamic rhythm given the complication of his accident is nothing short of awe-inspiring. Collen and Campbell create a duo that is complimentary and layer songs so well. Savage’s depth and groove undoubtedly contribute to the distinctive rock sound we all love and expect from the band.
Having seen Mötley Crüe the previous night at the Underworld, I knew this wouldn’t quite be the same. Having read the reviews of previous dates, I was apprehensive of how their sound would carry through such a large venue. For the opening songs, the sound just wasn’t right. This improved as they moved through the setlist and ultimately, they delivered a solid, high-energy performance. The 16-song setlist included hits such as ‘Live Wire’, ‘Girls Girls Girls’, and ‘Kickstart My Heart’. The band completed a compilation of ‘Rock and Roll, Part 2’ / ‘Smokin’ in the Boys Room’ / ‘Helter Skelter’ / ‘Anarchy in the U.K.’ / ‘Blitzkrieg Bop’ / ‘(You Gotta) Fight for Your Right (To Party!)’, and as you can imagine, it went down well.
During what was an overall impressive performance from Mötley Crüe for me it was dampened by Tommy Lees request for females in the crowd to “get their titties out” and subsequently pressuring these females. There was something quite infantile about this, and for it to be coming from a 60-year-old man felt quite uncomfortable. Now, I don’t doubt that for some, seeing a few boobs added to the experience. However, for me, in the context of 2023, where there is a growing emphasis on creating safe and inclusive spaces for all concert attendees (including children), Tommy’s remarks and subsequent pressures were out of touch and inappropriate. Nowadays, the use of cameras, phones, and large screens could be really damaging to the individuals that willingly participated in this. Concerts should be an opportunity for people to come together, enjoy music, and feel a sense of community, and safety, it should be free from derogatory and objectifying comments.
‘Army of Devils’ marks the return of Toronto indie art rockers The Conscience Pilate to new music. After a 25-year hiatus, Edward Pond and Neil Leyton decided to reunite and immediately wrote “Army of Devils” over a bottle of Rioja. Their song title is ripped from the cover of a violent pulp-fiction action novel Edward owned as a kid.
‘Army of Devils’ is a song about not letting the demons in our head mess up the good things in our life, and how we sometimes wreck it a little anyway. Starting in the summer of 2023 The Conscience Pilate will release a new single each month, beginning with “Army of Devils”. It takes a village, so while Pond and Leyton remain the core of the band, many of their musical cohorts from across the years are stepping up to play drums, and guitars, record and pour synergy into this project.
Arizona-based, all-female punk band The Venomous Pinks are sharing their new song and music video “We Must Prevail,” made in collaboration with Eternal Film Productions and directors Nikki Carmela and Alexander Thomas. The video is a protest against the abortion bans
New York City guitarist, singer & songwriter Steve Conte has released a video for his new single, co-written with Andy Partridge (XTC) titled “Fourth of July.”
The song & video serve as a follow-up to his 2021 acclaimed solo album Bronx Cheer, and offers an early preview of his upcoming new LP due out in 2024 via Steven Van Zandt’s Wicked Cool Records.
Steve says:
“Fourth of July” was written with one of my favorite songwriters of all time, from one of my fave bands – Andy Partridge of XTC. I feel blessed to be writing with one of my heroes…and to be recording for Little Steven Van Zandt’s label, Wicked Cool Records,” says Conte.
“With a title like “Fourth of July” I knew I didn’t want to make this song lyric at all patriotic American or about Independence Day – I wanted it to be about the sparks that fly, the fireworks that go off in a relationship. One with intense chemistry…love, fulfillment …bombs bursting in air, ya know? Explosions, yes – but no stars & stripes.
The chorus of the song is one that I’ve had kicking around since the 90s. I wrote the hook while getting ready to leave my NYC apartment for some July 4th event – I just started singing about what was happening that day. The hook was all there; chords, melody, the title lyric, the phrasing – complete with that odd timing. I thought it could be something special because I never forgot it.”
I was one of the lucky ones that bagged myself a ticket after taking a calculated risk that DÖGS OF WAR, would in fact, be Mötley Crüe so here we go… my first review.
Let’s start at the beginning, I was introduced to Mötley Crüe by age 8 (mum would say bad parenting, dad would say FUCK YEAH!). For the last 17 years, crüe have taken me through the highs and lows of my teenage years and young adulthood, seeing them in such a small venue was a dream come true.
The Underworld is known for its intimate setting and raw energy, and was the perfect venue to host this special performance by DÖGS OF WAR. Despite the passage of time (and a lot of doubters), these aging rockers proved once again that their fire still burns bright, as they unleashed a small yet mighty gig that will undoubtedly be etched into my memory and of all those fortunate enough to be in attendance.
With the dim lights and the distinct scent of pints, hairspray and excitement permeating the air, the atmosphere was reminiscent of the gritty rock clubs of the past, creating an electric ambiance that set the stage for something incredible. I’ve often said I grew up in the wrong generation, and after attendance of this gig I’m envious of all the old rockers out there (like my dad) that got to experience this insane atmosphere at almost every gig.
Kicking off the night with an explosive opener, the band set the tone with “Wild Side”. DÖGS OF WAR continued to deliver hit after hit. Songs like “Dr. Feelgood”, “Girls Girls Girls” and “Shout at the Devil” kept the energy high. In total, the band played 11 songs, including some of my all-time favourites, ‘too fast for Love’ and ‘Smokin’ in the Boys Room’. What didn’t I expect at this gig? A cover of the Beastie Boys ‘Fight For Your Right’ and Ramones ‘Blitzkrieg Bop’. Every song resonated with the crowd, within my view not one person stood still. The crowd passionately sang along and gave thunderous applause at every opportunity.
For me, a special shoutout to Vince is needed, it’s well known that his voice is not what it was, but unlike some he, and us fans have accepted that (take note Axl). Despite this, with the aid of some well-timed backing, and the crowd’s help he captivated us all. My jaw dropped when he actually hit (and well) one of his higher notes in ‘Wild Side’. His stage presence was felt all night, he kept the energy up. The proximity between him and the crowd created an electric connection, and I’m sure this played a part in his energy and determination to make it a night to remember.
I have to name it, it’s heart-breaking to see the band without Mick, but John 5 seamlessly slipped into his new role, delivering solos and showcasing his own unique style. His performance, coupled with the band’s chemistry ensured that the essence of Mötley Crüe was preserved, even with the absence of Mars. I for one am excited about the next chapter following the conclusion of this world tour!
Having avidly followed those Manx rockers Mad Daddy, and as I live in France, it was a no brainer for me to purchase this ear-rattling compilation album from French label Pigmé Records. This is the second volume of garage rock goodness, and while it includes Mad Daddy’s most recent single, ‘Road Racer’, they are in good company from all over the world.
I was only previously aware of Swiss rockers The Jackets, whose inclusion of ‘Queen Of Pill’ gives The Fuzztones a run for their money. I see they are playing Paris in September with The Darts (USA), who feature here with ‘Intersex’, and that is a tempting double bill, as they really suit each other. French rockers La Flingue offer ‘Selbsmodell’, while Belgium is ably presented by ‘I Ain’t Dead’ by Chiff Chaffs and their swelling organ (ooer).
‘Strange Baby’ by The Go Go Killers (USA) sounds like it’s sung in an unknown language, but is a pleasing clout to the head, while ‘It’s A Girl’ by Strange Attractor (Canada) will get you up and dancing. ‘Stab Me’ by Slocks (Italy) is altogether darker, as you’d imagine, and Mad Daddy rev things up with the aforementioned ‘Road Racer’. I’m determined to see them one day!
Side two kicks off with ‘Confusion’ by The Cogs (Italy), proving that three chords and a lot of energy still works well, and ‘See That Girl’ by The Mocks (Netherlands) is very groovy, baby. They are definitely worth researching further. Sinister Six (USA) obviously have an extensive Cramps collection, if ‘Pretending To Be High Class’ is anything to go by, very nice.
‘Veneno Barato’ by Nestter Donuts (Spain) pounds along, probably with a sore throat by now. Short and snappy. The Fadeaways (Japan) provide the addictive ‘She’s A Rat Trap’, another top tune, and Davilla 666 (Argentina) provide the grungy ‘Chloe Sevigny’.
For once, I could afford the vinyl! As it didn’t include the crippling customs tax, not coming from the UK, but you can possibly pick up a copy via Mad Daddy’s Bandcamp page. Get on it!
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