The Urban Voodoo Machine – ‘Other People’s Children’ (Gypsy Hotel Records)

The Urban Voodoo Machine – ‘Other People’s Children’ (Gypsy Hotel Records)

Covers albums can be hit and miss affairs. There are plenty out there, the good, the bad and the ugly. Well, with 5 studio albums, 2 compilations and an album of artists covering their own songs, London-based collective The Urban Voodoo Machine have surely earned the right to release a covers collection of their very own.

Chief songwriter Paul-Ronney Angel certainly thinks so. And in a world saturated with AI versions of your favourite songs reimagined as funk, soul or reggae, it seems fitting the one of the most exciting live bands around take 11 songs (some familiar, some not so familiar) and record them using real instruments, played by real musicians in a real recording studio.

For me, the essence of a good cover version is to put your own stamp on it and create your own masterpiece from an already existing piece of art. The Urban Voodoo Machine do just that with the opening song of ‘Other People’s Children’. Their take on the AC/DC classic ‘Hell’s Bells’ was actually recorded many moons ago for a Classic Rock compilation CD (remember those?). Who knew that injecting some bourbon-soaked gypsy blues bop n’ stroll music would work so damn well? With that iconic riff picked on an acoustic guitar and a horns & brushed beats accompaniment, PR and his band of brothers do the unimaginable and make the song their own.

It’s a strong start, but they keep the pace up with a rip-roaring one-two that really captures the live feel of the band. You could argue that ‘Rhinestone Cowboy’ and The Stones ‘Factory Girl’ were made to be covered by Paul at his most inebriated, and the delivery just fits the feel of songs. Its captured beautifully, as our ringleader wails whisky-soaked tones over crashing, rustic instrumentation. The latter especially works so well with banjo and horns to the fore, creating a gypsy style party vibe.

Noone can deny the pop suss of ABBA, and ‘Chiquitita’ has never been tackled with such drunken aplomb. Side 1 ends with a spaghetti western drenched version of ‘Destiny Angel, an emotive song written by sadly departed founding member Nick Marsh. It has been re-recorded here with the help of members of Nick’s family.

Side 2 carries on the tribute to lost members theme with ‘The Lodger’, a song written by Mark Gilligan, who played with the band on and off for many years. His son Tristan joins the band on guitar for this Pogues inspired folky ditty, it’s a killer tribute. Originally a hit for The Standells in 1966, ‘Dirty Water’ is a rock n’ roll party that sounds like about 5 UVM songs rolled into one. With a faster pace and a fistful of energy, it’s probably my favourite song on the record right now.

Ry Cooder’s ‘Across The Borderline’, with its re-tagged “London, you’re my home” refrain is topical and suitably delivered in an acoustic based, gypsy blues style. The late night ‘live in the studio’ vibes continue with the smoky ‘Jimmy Jazz’, where PR and his harmonica take the spotlight to do justice to The Clash and make this London Calling cut even more jazzy.

The Urban Voodoo Machine love a good instrumental and if you’ve seen them live, you may well have seen them open with the classic ‘Popcorn’. Here it comes on like it’s been ripped straight from a Tarantino movie. The gospel classic ‘I’ll Fly Away’ brings things to a close nicely, a song the band play regularly in their other incarnation as The Urban Voodoo Machine Marching Band, who play funerals with a New Orleans style twist. Maybe I’ll get them booked in for my send off!

The live energy Of The Urban Voodoo Machine is captured magnificently by Alex McGowan at Space Eko Studios, and the great thing about this album is that it sounds like a regular Urban Voodoo Machine record. They bring the party every time, whether it’s their own songs or these other people’s children that they have made their own.

Like I said at the beginning, covers albums are hit & miss affairs, and this one is very much a hit as far as I’m concerned.

Buy Here

Author: Ben Hughes

The Hives – Stylus, Leeds – 31st August 2025

The Hives – Stylus, Leeds – 31st August 2025

“I think the show’s going well so far, what do you think?” asks The Hives mouthpiece Screamin’ Pelle Almqvist, halfway through a 45-minute set from probably the greatest garage rock band around. 

The Hives are playing a series of album release shows at intimate venues across the UK, promoting their most excellent new long player “The Hives Forever, Forever The Hives’. 

This show was arranged in conjunction with local independent record store Crash Records, and is a completely different kettle of fish compared to last night’s amazing Bryan Adams show at the Brudenell up the road.

While both acts hit the stage bang on 8pm and are done before 9pm, The Hives choose to play oldies and newbies rather than concentrate just on the new album.

That said, the first couple of tracks are new, and they absolutely kill it.  Opener ‘Enough Is Enough’ slays from the opening bombardment of jagged riffs and powerhouse drums. Pelle is stage front, motioning at the crowd to go wild before he has even sung a note, and they respond. To his left Nicholaus performs his signature moves while bashing out punchy riffs on his telecaster. You can’t take your eyes off the pair of them.

Like The Ramones before them, the Swedes deliver song after song. 3 chord punk rock, a tried and tested style where the songs may sound the same, yet are still different, energetic and exciting. You instantly know a Hives song when it hits the radio, right?

‘Paint A Picture’ follows, the crowd go wild for the hyper energetic vibe the band create. That chorus is sublime; it’s a killer tune make no mistake. Two songs in and the frontman has the whole room in the palm of his hands; oh he makes it look so easy!

Next up ‘Bogus Operandi’ sounds like an old friend, it’s epic, nearly as epic as the following classic ‘Hate To Say I Told You So’, which is never going to disappoint at any size venue.

It’s warming up nicely, hold on, we’re only 5 songs into a Hives show, that’s about 15 minutes in real time! They jam out and extend an incendiary ‘Tick Tick, Boom Boom’ to give the hyper crowd down the front a breather between Pelle’s high kicks and DLR style stage raps. He’s in the crowd for at least the third time tonight, and you can’t take your eyes off him. 

‘Legalise Living’ is another newbie single that goes down a blast, and Strokes soundalike ‘The Hives Forever, Forever The Hives’ closes the main set in style with an audience member dragged up on stage to play the 2 chords needed. 

A one-two encore of ‘Come On!’ And ‘Countdown To Shutdown’ ends a show that went by in the blink of an eye. 

9 tracks in 45 minutes, delivered with enough raw power, humour and energy to fuel a small city. With a frontman who entertains and lights up a crowd with his humour as much as his voice, and a band who are a well-oiled punk rock machine, The Hives were never going to be anything short of amazing tonight. The Hives forever, forever The Hives indeed. 

Author: Ben Hughes

Wolfsbane – ‘Live Faster’ (Self Release)

Wolfsbane – ‘Live Faster’ (Self Release)

Somewhere back in the mists of time, Tamworth terrors Wolfsbane were one of the bright young hopes of a burgeoning UK rock scene. Along with the likes of The Dogs D’amour, The Quireboys and The Almighty, they graced the covers of the UK music magazines and were destined for big things. With a fierce live reputation and a dedicated fanbase affectionately known as ‘The Howling Mad Shitheads’, it seemed Blaze Bayley and the boys could not fail; then they signed to Def American Records, the label run by the legendary Rick Rubin, mastermind behind The Beastie Boys and others. A producer who had turned around the careers of Slayer, Red Hot Chilli Peppers and The Cult to name but a few. But somehow, he managed to zap all the live energy from Wolfsbane’s debut album ‘Live Fast, Die Fast’.

While they redeemed themselves on the following Brendan O’Brien produced mini album ‘All Hells Breaking Loose…’, sadly the stars never aligned for the band, Blaze jumped ship for Iron Maiden and the rest as they say, is history.

Now, some 40-odd years later, Wolfsbane plan to right the wrongs and have completely re-recorded that debut album in full.

I always thought of Wolfsbane as the British Van Halen. My first introduction was their Friday Rock Show session, Blaze sounded like Roth and Jase Edwards had the guitar histrionics to match Eddie Van Halen, the live feel of those songs matched the energy of the Californian legends. Maybe if Dave & Eddie had started their days on a council estate a few miles from Birmingham, they too would’ve sounded just like Wolfsbane. In 2025 this re-imagined ‘Live Fast, Die Fast’ sounds raw, tight and exciting. With the same running order and the song structures staying faithful to the original recording, what stands out most is the production.

With that familiar hammer-on intro, ‘Manhunt’ fills the speakers like an old, lost friend. Is it faster? It sounds fast! The main change here is the drum sound, while the original was snare-heavy and polished, the drums overpowering and in your face, here the instruments all gel as they should. Next up, ‘Shakin’ sounds great, real ‘live in the studio’ vibes here. It’s the song that remains the most Van Halen-like to me. A classic tune given the sound it so rightly deserves.

With face-melting guitars and a killer hook, ‘Killing Machine’ was a live favourite back in the day, and it still holds up. ‘Fell Out Of Heaven’, again, has Roth vibes in the vocal department and another killer chorus, yet in my mind I still prefer the Friday Rock Show version.

Elsewhere, the live energy is captured magnificently by Jase Edwards’ stellar production, even the big MTV single ‘I Like It Hot’, with its sheen removed, is still as commercially pop-tastic as I remember. My only gripe would be the token ballad ‘Tears Of A Fool’, which would have been all well and good if they were The Dogs D’amour, but it didn’t fit the feel of the album in 1989, and it still doesn’t in 2025. Maybe they shoulda banged on ‘Paint The Town Red, instead.

While this re-recorded version of ‘Live Fast, Die Fast’ is unfinished business for the band, and is steeped in nostalgia, the songs stand the test of time and remind those who were there what a great band Wolfsbane were back in the late 80’s.

‘Live Fast, Die Fast’ remains a testament to the fact that not all the most exciting bands came from the Sunset Strip back in the late 80’s, some came from the Midlands too. Do yourself a favour and get reacquainted with a lost gem.

Buy Here

website

Author: Ben Hughes

Rival Sons/Creeping Jean – The Barbican, York – 24th June 2025

Rival Sons/Creeping Jean – The Barbican, York – 24th June 2025

Following on the release of the ‘Darkfighter’ and ‘Lightbringer’ albums in 2023, Californian 4-piece Rival Sons continue their non-stop touring schedule, which currently sees the band in a prime position opening arenas and stadiums across Europe for Guns n’ Roses.

8 albums into their career, and the retro rockers show no signs of slowing down. In between these big shows, they have fitted in a handful of UK headline dates; one such date brings them to York for the first time, before they head on to Wembley Stadium and beyond.

First up tonight, we have Brighton-based throwbacks Creeping Jean, who seem the perfect opening act for Rival Sons. The 5 piece certainly looks the part, they have the threads, the hair, the grooves and moves to match. Although they do have their very own Bez on tambourine and backing vocals, who seems to be trying just that bit too hard to be cool.

The tunes ain’t too shabby though, and the delivery is great, they go down well with the growing crowd. If you dig the likes of Free and Deep Purple, then you won’t go far wrong with this bunch of 70s-influenced dudes. Worth checking out for sure.

The scene has been set, and as the lights dim to great cheers, Rival Sons enter the room and deliver a masterclass of bluesy rock n’ roll, straight from a bygone era. The constant touring has made Rival Sons a well-oiled live machine, but they always have been, right? A band doesn’t get this good by luck. It’s all about putting in the hours, hard graft and loving what you do.

Opener ‘End Of Forever’ sets the scene nicely. The sound mix is pretty decent from the off, yet it takes a few songs for the vocals to bed in. Michael Miley’s bombastic drums sound massive, stage right, Dave Beste holds down the low end, stage left, the ever-cool Scott Holiday peels off effect-ridden riffs on the first of an impressive array of guitars he uses tonight. Centre stage, the suited and bare-footed frontman Jay Buchanan weaves his body, hits notes only dogs can hear and commands his audience with the stage presence and vocal delivery of all your favourite classic rock singers rolled into one.

It all wouldn’t be so impressive if they didn’t have the tunes, but Rival Sons do have the tunes. ‘Electric Man’ is one such song; it sounds fantastic and gets one of the biggest receptions of the night. Scott’s iconic riffage and Jay’s soaring vocals are the perfect pairing for this standout cut. Elsewhere, ‘Pressure & Time’ and ‘Manifest Destiny’ prove they are more than just a singles band, as they jam out album tracks with the energy and bravado of a hungry, young band on their first tour.

Although they only delve into the last two albums briefly, the new songs fit the set like a glove. I guess with 8 albums to draw on, you can’t have it all, but highlights are plentiful. ‘Rapture’ is stunning in the confines of this 1400-seater room, as is the emotive and beautiful ‘Mosaic’. Delving deeper, the likes of ‘Feral Roots’ and ‘Tied Up’ make me wanna rediscover those older albums I may haven’t given the time they deserve.

While their retro-tinged sound is drenched with modern, effect-loaded guitars, whatever they do, Rival Sons cannot escape the 70’s rock comparisons. There may well have been a drum solo tonight, just a small one. And of course, there are plenty of guitar histrionics from the dapper Holiday, as he switches guitars every few songs and peels off killer licks. It all comes across like a scene from ‘Almost Famous’, and I mean that in a good way.

Mid-set, the boys get a breather as Jay takes things down with an emotive and soulful solo rendition of ‘Shooting Stars’, just one man, one acoustic guitar and a room of fans to give the accompaniment it deserves.

There is no encore, the band preferring to end with a rousing and groove-heavy ‘Secret’ from the recently reissued ‘Great Western Valkyrie’ album.

I’ve seen Rival Sons several times over the years, and every time they own the stage the moment they walk on until the final note fades and blends with cheers of their adoring fanbase. Yes, the music is nostalgic, and you can only describe them as ‘Classic Rock’, but is that such a bad thing? In a sea of wannabe retro rock bands over the years, Rival Sons stand tall above their peers as one of the best live acts currently actively touring and releasing new albums. It’s no surprise they are opening the show for the GNR juggernaut; they fully deserve the exposure. Tonight, Rival Sons triumphed in York, and I for one hope they return sooner rather than later.

Author: Ben Hughes

The Darkness – ‘Dreams On Toast’ (Cooking Vinyl Records)

The Darkness – ‘Dreams On Toast’ (Cooking Vinyl Records)

I must admit to having a bit of a love/hate relationship with The Darkness. Seen as the metal band it’s ok to like by the Radio 1 listeners 20 years ago, but ostracised by the rock community for being the band it’s uncool to like. 

As with many bands of their ilk, The Darkness have done the sex, drugs and rock n’ roll to the max, and are still here to tell the tale. 20 years down the road, they remain top songwriters, a fully entertaining live band and they’ve gone a long way to prove they are more than just a novelty act. 

The power pop induced goodness of recent singles ‘The Longest Kiss’ and ‘I Hate Myself’ prove Justin Hawkins is doing something right and certainly piqued my interest in the run up to the release of their 8th album  ‘Dreams On Toast’. The former sounds like Jellyfish jamming with ELO, the latter a 70’s styled glam stomper, they are both excellent earworms up there with the best singles released so far this year.

But what about the rest of the album, pray tell? Well, Justin Hawkins is a man who is always ready to embrace the theatrical side of rock n’ roll; he gets the humour and the utterly ridiculous nature of the more flamboyant avenues of rock’s past. It wouldn’t be The Darkness any other way, right kids? I mean, who would open their album with a dumb-ass pastiche to 80’s metal, filled with cliched lyrics and second-hand Ratt riffs? ‘Rock And Roll Party Cowboy’ is exactly that. A bit of a weird album opener if you ask me, but it is a grower. 

But The Darkness ain’t a one-trick pony. The band are mixing it up, and the surprising strengths of ‘Dreams On Toast’ lie in its diversity.

Yes, there’s the generic balls to the wall rock of ‘Mortal Dread’ and ‘Walking On Fire’, both punchy as fuck and full of heavy, AC/DC riffage. Yet, at the other end of the spectrum we have a countrified ode to male bottom burps whilst shagging, cunningly titled ‘Hot On My Tail’, and the folk inspired ‘Cold Hearted Woman’. Both emit feelings of sentiment, but Justin’s clever tongue-in-cheek lyricism remind you not to get too sentimental.

Elsewhere, the piano-led ‘Don’t Need Sunshine’ closes side 1 and channels those classic Queen meets ELO vibes with a soulful melody and sweet, multilayered vocals. It’s 70s rock balladry at its finest. 

Side 2 sees another curveball in the shape of ‘The Battle For Gadget Land’. Here, the band deliver indie style stabbing guitars and urgent beats before a breakdown with a camp, spoken word section that takes us into Tim Curry/Danny Elfman territory. 

Things get even weirder on closer ‘Weekend In Rome’, a song that aims to conjure cinematic soundscapes but falls short of the mark.

If you dig falsetto vocals, twin guitar harmonies, tongue in cheek lyricism and general bad-assery, go buy a Steel Panther album! Failing that, give the new Darkness long player a go, it has all that and more. A diverse album that is all over the place, but it sort of works. At just over 30 minutes long, it never outstays its welcome and begs to be played again and again. 

Is it the best album of the year? No. Is it the funniest album of the year? Possibly. Is it the funniest and best Darkness album for years? Definitely. 

Buy Here

Author: Ben Hughes

Ricky Warwick – ‘Blood Ties’ (Earache Records)

Ricky Warwick – ‘Blood Ties’ (Earache Records)

Not content with resurrecting his old band The Almighty and continuing to fly the Thin Lizzy flag with Black Star Riders in recent years, singer/songwriter Ricky Warwick returns with a brand-new solo album entitled ‘Blood Ties’, the follow up to 2021’s ‘When Life Was Hard and Fast’

Produced by friend, collaborator and former Buckcherry guitar slinger Keith Nelson, ‘Blood Ties’ is a personal and life affirming album that sees the Northern Irish troubadour amp up the guitars and deliver the goods, with the help of a few famous friends along the way.

‘Angels Of Desolation’ is a strong album opener for sure and sets the scene for this 10 track affair of the rock n’ roll heart (11 including the CD only bonus cut ‘Not My Circus’). Upbeat and euphoric in equal measures, it’s up there commercially with his best work. A punchy rocker of a tune with a killer chorus. The crisp production job highlight’s the crunching guitars and the powerhouse drums to the max. It’s a life affirming ride down a path of self-destruction and out the other side intact. “So, you think I’ve had enough?” Ricky begs the question as the instruments fade.

Next up, ‘Rise & Grind’ is a more poignant look at the homeless situation in L.A. and features the ripping, wah-wah infused guitar work of Blackberry Smoke main man Charlie Starr, sounding like he’s having the time of his life here, free from the constraints of his Southern Rock day job.

Enlisting Lita Ford to duet on ‘Don’t Leave Me In The Dark’ is a bit of a dream come true for Runaways fan boy Ricky. The jangly, 60’s guitar intro leads into a smouldering vocal before Lita’s unmistakable velvety tones take over. The male/female juxtaposition works like a dream on the killer hook, and with its instant commercial feel and poppy vibe, it’s no surprise it was chosen as the lead single.

The Thin Lizzy influence raises their head on ‘The Crickets Stayed In Clover’. Bittersweet, yet as catchy as the common cold, it’s a trademark Ricky Warwick style single and an instantly satisfying song that remains an album highlight after multiple plays.

Side one ends strong with ‘Don’t Sell Your Soul To Fall In Love’, a slow burner that builds to a chorus with the angst, the blood, fire and love of a classic Almighty tune.

So, turning the virtual needle and we are met with a more, dare I say, ‘contemporary modern rock’ feel with the likes of ‘Dead & Gone’ and ‘The Town That Didn’t Stare’. And while it doesn’t really hit the euphoric heights of side one, it certainly has its moments. The Cult legend Billy Duffy leads the way with his unmistakable guitar licks on ‘The Hell Of Me And You’. Here, Ricky delivers an effortlessly cool vocal while Mr. Duffy solos like its 1989! Top stuff indeed. Elsewhere, ‘Crocodile Tears’ has a killer chorus, with some sublime backing vocals that seal the deal. The kingpin of side two for sure, is it me or is there Bryan Adams vibes going on here? And bonus closing track ‘Not My Circus’ continues to embrace the ghost of Thin Lizzy to the max, a worthy addition to the album.

‘Blood Ties’ is a surprisingly upbeat and strong album from one of the UK’s original rock survivors. Whether you know him from Black Star Riders, The Almighty or from touring with his heroes Stiff Little Fingers, there is plenty to enjoy here. With not an acoustic guitar in sight, ‘Blood Ties’ is a full-blown rock album that sees the songwriter dig deep and bare his soul more than he ever has before. An outstanding record that is up there with the best of ‘em so far this year, get it while it’s hot.  

Buy Here

FACEBOOK | INSTAGRAM | X | YOUTUBE | SPOTIFY

Author: Ben Hughes

Black Spiders – ‘Cvrses’ (Dark Riders)

Black Spiders – ‘Cvrses’ (Dark Riders)

Those true Sons of the North, The Black Spiders continue their assault on the rock n’ roll world with their 5th opus ‘Cvrses’, the 3rd album they have released since reforming back in the Covid years. It follows hotly on the heels of the 2023 release ‘Can’t Die, Won’t Die’. And if you thought the first single ‘Out Of Order’ was a bit of a banger, then prepare yourself, as that song doesn’t even make the cut on this album. That’s how confident singer Pete Spiby and his band are of these new tunes.

Recorded in the not-so-glamorous rock n’ roll metropolis otherwise known as Doncaster, the five piece Sheffield band consisting of Pete Spiby (guitar & vocals), Adam Irwin (bass), Nate Digby & James Evans (guitars) and Wyatt Wendels on drums have crafted yet another baker’s dozen (there’s a hidden track on here apparently called ‘Lil Death’, but I cant find the fucker anywhere!) of high octane bangers laced with humungous riffs and more hooks than Adrian Smith’s tackle box.

‘Never Enough’ kicks it all off in raucous style with the sort of garage rock, punked-up energy The Hellacopters were shoving in our faces 20 years ago. The shouty, gang vocals seal the deal. Next up ‘Cool Reaper’ goes back another decade or two and mixes up 80’s sleaze metal with a punky attitude to create high octane rock n’ roll. Amps are set to 11 and guitars set to punch you in the gut. Are you paying attention yet? ‘Sorry Not Sorry’ recalls those highly underrated Aussie rockers The Screaming Jets, with its glorious, overly familiar riff, effortlessly cool vocal hook and a guitar solo to melt faces at forty paces.

3 songs in and seriously, I forgot how good Black Spiders are. Fat riffs, tongue-in-cheek lyricism and stadium-sized choruses are the order of the day. The Black Spiders are back, they mean business, and business is good. I mean, songs like ‘Tom Petty’s Lips’ and ‘Up All Night’ are up there with the best you’re gonna hear this year. Five hairy dudes from Sheffield have no right to have such killer tunes in their possession, but here we are. I’ll wager you’ll be singing those refrains long into the night after just one listen like I was.

Elsewhere, Grunge-inspired desert rock riffage is certainly prevalent. Feel the sun beating down on your face and the sweat on your brow as ‘Dia De Muertos’ straddles the plane of Alice In Chains meets Kyuss, which is a good place to be in anyone’s book, surely?

And then there’s the hilarious ‘Mofo Sauce’, a song that screams out for a high budget promo video featuring chicks in bikinis, dwarfs and swimming pools. It’s full of over the top 80’s rock references, bombastic beats, big guitars and a killer hook. What’s not to like here? Tongue-in-cheek? Tongue-in-ass-cheek more like! If Black Spiders ever needed a trademark anthem to be remembered for, they got it now.

‘Obey’ lulls the listener into a false sense of security with a Tarantino-esque guitar intro before breaking into a wall of noise. The album closer ‘Rotten To The Core’ with its acoustic guitars, harmony vocals and 60’s west coast California Dreamin’ vibes, is a bit of an epilogue, a fitting end to the album and a standout track that leaves you wishing and wanting more.

There’s an old cliched statement that most bands give out in the run-up to an album release, and it goes something like; “This is our bestest, strongest and most focused album ever”. And guess what? In this case there is some truth to that statement, as the Black Spiders have released a monster in ‘Cvrses’.

Its a righteous ride through the annals of rock n’ roll and a statement of intent that thrills and excites in all the right places. The perfect combination of hard rock and metal with power pop hooks aplenty and guitar solos everywhere. And with not a duff track in sight, it’s a thumbs up from me. Long may the Black Spiders weave their web.

Buy Here

Author: Ben Hughes

The Hellacopters – ‘Overdriver’ (Nuclear Blast)

The Hellacopters – ‘Overdriver’ (Nuclear Blast)

Sweden’s finest exponents of action rock The Imperial State Electrocopters are back and they are firing on all cylinders. Nicke Andersson’s 70’s drenched tribute to The Stooges/Kiss/Thin Lizzy/Motorhead (delete as applicable) follows up their 2022 comeback album ‘Eyes Of Oblivion’ with a new 11-track banger of an album in ‘Overdriver’, and there is not a Dregen to be seen or heard on this, the 9th long player from The Hellacopters. Which sort of makes it an Imperial State Electric sort of thing, doesn’t it?

Confused? Well don’t be. The livewire Backyard Babies guitarist may well have been instrumental in the sound of The Hellacopters classic ‘Supershitty To The Max!’ garage rock era, but that was a different band in a different century ladies and gents. Nicke and his gang progressed over the years, and while the gang members have come and gone, the song remains the same in 2025.

Seems as they are a four piece in the videos, we are to assume out illustrious leader handles guitar duties as well as vocals here. All is well and good and opener ‘Token Apologies’ delivers the Kiss/UFO influences to the max, and if you have, like me been rediscovering the ‘Head Off’ covers re-issue recently, then that is a good reference for where we are heading sound-wise.

‘Don’t Let Me Bring You Down’ is classic Nicke, and could’ve been a single from any of the early Imperial State Electric long players, or any 70’s Quo album come to think of it. A great memorable hook, and an early highlight for sure.

But then things get really tasty with the magnificent power pop single ‘I Don’t Wanna Be Just A Memory’. Methinks Ginger Wildheart would give his left bollock to have a hook that good for The Wildhearts in 2025. With its urgent beats and rousing chorus, it sounds like Benny & Bjorn penned it back in ‘78, Iggy stole the beat from the Lord and traded it to Nicke’s old man for a bag of blow and a bottle of Jack. Yes, it’s that good!

3 songs in and were flying in the right direction. The groovy punk n’ roll of ‘Wrong Face’ follows, the rousing and uplifting ‘Soldier On’, and the overly familiar ‘Doomsday Daydreams’ wrap up a very strong side 1.

Flipping the virtual disc and the high energy ‘Faraway Looks’ has riffs and a chorus to die for, latest single ‘Do You Feel Normal’ is classic 70’s rock at its finest and closer ‘Leave A Mark’, does exactly that with its throbbing bass line, driving rhythms and Starchild vocal delivery. It rocks you like a hurricane until the final note rings out.

For me, ‘Overdriver’ is a stronger album than its predecessor. It’s an album of two halves, side 1 pisses all over side 2, but it’s worth flipping the disc for the opener and closer alone. There’s a lot of familiarity of ‘Overdriver’, riffs you will have heard before…somewhere, and you’ll be wracking your brain to recall where the hell you have heard certain melodies before, but that’s half the fun of the listening experience. Who was it that said, “There’s nothing original in rock n’ roll these days”? That may well be true, but if it’s good and it makes you feel something, then who the fuck gives a fuck?!

The Hellacopters may not sounds as raw and exciting as they did in 1996, but they’ve mellowed like a fine red wine over the years and ‘Overdriver’ is a great return to form and one of the essential listens for 2025.

Buy Here

Author: Ben Hughes

Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Hands up who’s ever seen Terrorvision do a bad show? Didn’t think so, but can anyone tell me the last time they gave less than 100% live? I’m waiting….

Bradford’s finest export are the only band I’ve seen share a stage with The Wildhearts and come off the better band on the night, and I’m a big Wildhearts fan. Well, the Brit Rock survivors are back with their first album in a decade, it’s called ‘We Are Not Robots’, and it’s a bit of a banger. The band are rolling into Leeds for a (sort of) hometown show in celebration. Did I fancy it? Well, it’s certainly worth braving the shitty Leeds traffic on a damp and dreary Tuesday evening that’s for sure.

I’ve never been to Project House before. Run by the guys of The Brudenell apparently, it’s a bigger venue to cater for bigger bands, I guess. A 1000-capacity venue that has the feel of a warehouse gig. It’s spacious and has a cool vibe, perfect for RPM faves The Bar Stool Preachers to warm things up. Opening with a killer one-two of ‘Call Me On The Way Home’ and ‘All Turned Blue’ from last year’s ‘Above The Static’ album is a masterstroke, and frontman Tom McFaul has the Terrorvision crowd eating out of the palm of his hand from the off. The whole band are energetic from the first note until the last chord rings out. Tim especially, makes full use of the stage space and gets the crowd involved as much as possible. The room is pretty full by the time they hit ‘Flatlined’, and getting the crowd to chant the “woah woah” refrain is the perfect way to win over those who are not yet converted.

An exceptional live band flying the flag high and defiantly for British live rock music, proving that there is more to live music in the UK than Oasis and Coldplay stadium shows.

The last time I saw these two bands together was at Bradford St George’s Hall last year. That night I was in the rafters, tonight I’m four rows deep from the front of the stage. For me it makes such a difference to the feel of a gig. To be ‘in it’, to see the smiles on the band’s faces as they play, to see the sweat drip from their skin and just witness how they interact with each other on stage, this is my happy place.

Terrorvision have a strong greatest hits set that flows into double figures and they play them all and more tonight. As guitarist Mark Yates plays that opening riff to ‘Discotheque Wreck’ the place prepares to erupt, and erupt we do. Frontman Tony Wright, is all over the stage like a ball of energy, to his left bassist Leigh Marklew sports sportwear & shades and gurns like a loon for the entire set, to his right the effortlessly cool Mark flexes his tattooed and toned frame as he pulls all the cool guitar hero poses. With the addition of Milly Evans on keys, Chris Bussey on drums and a 2-piece horn section, the band are now bolstered to a 7-piece. Last time out they were all dressed in pink and black, tonight the theme is powder blue and white to match the album art.

Talking of the new album, there are new songs to be played, and punked-up single ‘The Night That Lemmy Died’ is next up, while a bit of a departure for the band it fits nicely and goes down well, not as well as the following ‘Alice. What’s The Matter?’ though, which sounds phenomenal. They then take us right back in time with ‘My House’, to great cheers. I remember first hearing this song in a club in Swansea when it was released, not knowing who the band was, and it always takes me back to that night when I hear it, that’s the power of music folks! Four high energy songs in, and Tony is sweating like a smackhead with a giro, you wonder whether he’ll make it through the set, but the boys only getting started.

You would be forgiven if you forgot how good ‘Still The Rhythm’ and ‘New Policy One’ are, or how ‘Josephine’, with its killer spaghetti western riff shoulda been the big hit off of ‘Shaving Peaches’, but the Terrorvision massive haven’t and show their appreciation in spades.

Newbies ‘Baby Blue’ and ‘You Gotta Want To Be Happy’ prove the band still have a knack for penning a catchy tune or two and they stand up well against the likes of ‘Middleman’, ‘Perserverance’ and ‘Celebrity Hit List’ tonight.

Set closer ‘Pretend Best Friend’ has the trumpets to the fore, the guitars to 11 and the energy levels off the scale, the band then return for a one song encore. It’s here where I’m thinking wtf haven’t they played? They’ve surely played all their aces, but then that iconic “doo-wop” refrain leads us into rock n’ roll ‘Oblivion ‘one more time, and those who feel they haven’t quite sweated enough get to do it one more time before the band bid farewell to Carly Simon’s ‘Nobody Does It Better’. And that is quite a fitting exit.

Author: Ben Hughes

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

I think it was a certain Ginger Wildheart who first bought The Lemon Twigs to my attention, and it was not long before their 3rd studio album ‘Songs For The General Public’ was in my hands and on my turntable. There’s been two more studio albums since then and the Long Island power pop band, led by brothers Michael and Brian D’Addario have been top of my “bands I wanna see live” list for quite some time.

On the road promoting their latest long player ‘A Dream Is All We Know’, tickets were purchased the minute I spied a Leeds date at my favourite venue.

The Brudenell date has been long sold out, and it is already busy as the unpronounceable Tchotchke take to the stage. A 3 piece, all girl band with a drummer who happens to be the lead singer. With their 3-part harmonies, pop sensibilities and cool song dynamics they fit the bill like a glove. I’m sold after just a couple of tunes to be honest.

Thye have one album out, it happens to be produced by the D’Addario brothers and their melancholy and dreamy pop music comes across like a mix of The Shangri-Las meets Sleeper. Yep, 60’s girl group meets Brit Pop, its all jangly guitars, lush vocals and laid-back melodies that stick in your brain.

I don’t know any of their songs but I’ll tell you one thing, I don’t think a support band has ever left such an impression on me before. Their album has got to be my next purchase.

I’ve been looking forward to seeing The Lemon Twigs for what seems like an age. They open with ‘Golden Years’ and it’s all jangly guitars, lush vocals and smiles from the off. With skinny t shirts, perfect hair and even more perfect harmonies, the D’Addario brothers are on it from the word go. Leaning heavily on the latest album and its predecessor ‘Everything Harmony’, it’s pretty much a dream set with a few obscure covers thrown in for good measure. The first highlight follows a version of ‘Transparent Day’ by The West Coast Pop Art Experimental Band. My two favourite tunes from the new album are played together: ‘Church Bells’ is a glorious power pop ode that could’ve been penned by McCartney in the early 70’s, and the following ‘If You And I Are Not Wise’ sounds more like the Byrds than anything in recent history. Emotive, transcendent and fulfilling, I could go home happy right now, but there’s more to come.

The boys switch instruments throughout the set and take lead vocals on the songs they have written. ‘I Wanna Prove To You’ is another highlight, with Brian playing bass and Michael bashing the kit like Keith Moon, drummer Reza Matin takes on guitar duties and bassist Danny Ayala plays keyboards. It just goes a long way to show what accomplished musicians this whole band are.

The atmosphere is electric in the room tonight as we witness magic on the stage. ‘They  Don’t Know How To Fall In Place’ is killer and ‘Peppermint Roses’ is a new album favourite that is just as good live. The main set ends with the Beach Boys-esque ‘How Can I Love Her More’ before Brian returns with just an acoustic guitar to play 3 songs solo. His beautiful rendition of ‘Corner Of My Eye’ captivates the whole room, did I actually hear a pin drop? New song ‘Joy’ gets an airing, and ‘When Winter Comes Around’ is as emotive and possibly even more beautiful than the album version.

The full band return for a run through of The Beach Boys ‘You’re So Good To Me’ before ending on a high with a rocker. ‘Rock On Over and Over’ is as 70’s glam rock as you can get, T Rex meets Elton John for the win! What a finale.

I knew The Lemon Twigs were going to be good, but I wasn’t expecting them to be this good. The combination of perfectly executed pop songs delivered with an energetic performance, mixed with great sound and lights, by a band who are tight and look like they are really enjoying themselves. The benchmark gig of the year by far.

Author: Ben Hughes