Eureka Machines/The Virginmarys/The Empty Page – Brudenell Social Club, Leeds. 14th December 2024

Eureka Machines/The Virginmarys/The Empty Page – Brudenell Social Club, Leeds. 14th December 2024

It must be Christmas time, The Eureka Machines are having a shindig at The Brudenell, and you’re all invited!

Yes, Chris Catalyst may well be everyone’s go-to sidekick these days, whether he’s playing with The Sisters Of Mercy, Ugly Kid Joe or even a Nameless Ghoul in Ghost, you may well have seen him play without even realising it. But the Leeds based singer/songwriter has his own “funny little band” called The Eureka Machines, and every now and then they come back to remind everyone how good they are. This is one of those times. 

Late additions to the bill are Manchester alt punks The Empty Page and they have the grand job of opening proceedings tonight. Ex Obsessive Compulsive duo Kel and Giz are back with an impressive new album entitled ‘Imploding’ and it’s nice to catch them live for the first time in many years. 

With hypnotic, effect-ridden guitars, throbbing goth bass and Siouxsie Sioux/PJ Harvey vocals the 3-piece band deliver an energetic set that veers from Sonic Youth/The Smiths style indie floor fillers such as ‘You’re Tame’ to energetic, punky blasts of noise like ‘Dry Ice’. 

There’s a punk poetry element to Kel’s lyrics and delivery, matched with Giz’s clever guitar lines it makes for an exciting live experience. 

This is the first time I’ve seen The Virginmarys perform as a two piece and I was wondering how the dynamic shift would work in a live setting.

With the duo stage front, drummer Danny Dolan grips his sticks tight and haunches over his kit, like a boxer waiting to throw the first punch, his eyes focused on his partner in crime Ally Dickaty, waiting for the signal to count in the opening barrage of beats and riffs that make up ‘You’re A Killer’. The pair are mesmerising to watch and the sound that emanates from a single guitar, a voice and a drum kit is as full and intense as any rock show I have seen. 

‘Lies, Lies, Lies’ follows. Rawer, yet just as powerful as the album version. Danny pounds seven shades of shit from his kit while Ally spits diatribes with the guttural rage usually reserved for the likes of Slipknot (who incidentally are playing a short walk from the venue tonight). Two songs in and The Virginmarys are sounding freaking intense. 

Tonight, they play pretty much the whole of their new album ‘The House Beyond The Fires’ which is a pretty brave move. There’s no between-song banter, Ally preferring to let the music do the talking, and the highlights are plentiful. Singles ‘Northwest Coast’ and ‘When The Lights Go Down’ shine brightly, but it’s the newer album tracks which really show an intensity to their live performance.

The sound in The Brudenell is usually spot on and it plays in The Virginmarys favour. Ally’s guitar sounds amazing, crystal clear in the opening strains of the likes of ‘White Knuckle Riding’ and when the distortion and effects kick in on the likes of ‘Dance To The City’, it sounds massive.

There are just two older tracks played tonight, the emotive ‘Look Out For My Brother’ and a killer ‘Just A Ride’ which close the set. The song choice just shows the belief Ally and Danny have in the new material.

Fresh off a European tour and with the new songs bedded in, the Virginmarys are a tight live unit with a fistful of killer tunes that pack a punch and they are a force to be reckoned with. 

“Anyone want….a biscuit?” asks Chris Catalyst mid-way through the Eureka Machines triumphant headline set, before happily handing over a box of Family Circle to a more than obliging front row. It’s a bit of a northern ‘in joke’, but Eureka Machines and a certain amount of their fanbase like a good cup of tea and a biscuit. Maybe Eureka Machines are the Rich Tea of the rock n’ roll world? It’s safe, it’s familiar, you know what you’re going to get with a Rich Tea, and when you have one for the first time in a while you forget how bloody good they are…that’s a Eureka Machines show right there! 

Enough of the analogies, Chris Catalyst and his band don’t play shows very often these days, which is a shame because his self-proclaimed “silly little band”are actually very bloody good, and they have some top tunes in their arsenal.

They’ve not played a show for 12 months, but it may as well be 12 hours. Tight, comfortable and energetic, it’s like they’ve never been away. Obligatory black suits and white ties, obligatory between-song banter from Chris Catalyst and obligatory power pop filled set list. 

Kicking off with ‘Champion The Underdog’ we have a set filled with ridiculously catchy tunes that could give any stadium-filling band a run for their money. ‘Pop Star’ is played early, ‘Being Good Is Ok, But Being Better’s Better’ and ‘Affluenza’ are proper earworms and ‘Wish You Were Her’ is an emotional highlight. Even a cover of The Bangles ‘Walk Like An Egyptian’ is perfection in their hands.

The good news is they have a new album recorded and a new single in the (virtual) shops, and they play that single tonight. ‘Back In The Back Of Beyond’ is typical EM fodder and bodes well for the new album in the new year.

They don’t do encores, but ‘Zero Hero’ rounds up a killer set from one of the country’s best kept secrets. Funny little band? Let’s give the Eureka Machines the credit they deserve. 

Author: Ben Hughes

Christmas – Fear Of Romance’ (TNS Records)

Christmas – Fear Of Romance’ (TNS Records)

On ‘FEAR OF ROMANCE’ might just see Christmas climb the greasy ladder of success and MAx might just have found himself the lineup to do the name justice because on ‘Fear Of Romance’ they’ve broken free of the pure hardcore sound and branched out and created a melting pot of punk rock n roll with influences from pure hardcore to Turbonegro and beyond. the songwriting has taken a step up as well and the production is really sympathetic to the music giving the instruments a bright and clear path to your ears. This isn’t a muddy lo-fi DIY project it’s one that’s been painstakingly poured over and a lot of hard work has been given to the songwriting and all-round mix making this head and shoulders the best record in the Christmas arsenal.

The album kicks off no it literally kicks off sounding like a serious contender to the likes of Zugly on ‘Always Keep Giving Up’ as they really do slam the hammer down, magnificent opener driven by the phenomenal rhythm section.

Power and a great arrangement make ‘Thirsty and Disgusting’ a brooding pounding co-pilot for the opening track. They’ve lost none of their hunger and passion that much is obvious. The metallic ‘Maggot’ is a real earworm (or should that be ear maggot) but the title track is up next with a blood curdling riff and groove.

‘This Means War’ is a speaker busting grunt of gargantuan proportions as the Bass and Drums ramp the album up a notch or two. The middle of the album does relent in its pace and bark and ‘Smart Jokes’ is melodic and twisting and turning on the intro with a champion intro leading to the albums finest moment thus far and that’s saying something when its been this good so far.

‘Big Fish’ mixes it up with the choppy guitars and piano intro before kicking right off. Theres a happiness in the guitar melody of ‘Trainwreck’ with its big chorus and party gang vocals another really good song. ‘Burn Piggy Burn’ is a masterclass in modern hardcore before ‘Over You’ cruises through the gears with another anthemic chorus for you to throw yourself around the pit to.

Leaving ‘I’m Not Alright’ to grind us home on a wave of Bass and Drums before the riff joins in swinging. Max has upped his lead vocals as well and conducted a real banger for the end of 2024. One of the last releases in the year and it’s fair to say one of the best hardcore punk rock albums you’ll hear all year no question, It’s short and oh so sweet with a slick and complimentary production that lifts these songs up high and I would be doing an injustice to the underground if I didn’t highly recommend ‘Fear Of Romance’ its a pit busting banger from one to twelve, there I zero chaff here just top tunes. Buy It! Merry Christmas ya filthy animals.

Buy Here

Author: Dom Daley

Carol Hodge – ‘Effortless Insecurity’ (Self Release)

Carol Hodge – ‘Effortless Insecurity’ (Self Release)

‘Manoeuvres’ is a signal of intent with an explosion of styles from the strong melodies you expect from Hodge mixed with a heavy pounding groove. That’s an opener with intent.

Seconds out round two is a jarring piano riff mixed with a clashing guitar as Carol has a lush melody mixed with something you’d hear from someone like Sparks. With a fantastic production, this sounds huge. this album weaves and bobs like a peak fitness boxer but with a cheeky wink there’s a horseshoe in the glove adding a bit of oomph! to proceedings sure the keys and wailing guitar breaks lean into um, the dreaded p-word territory (prog) arch I’ve said it. However, it’s not standing on a shroom with one leg cocked tooting on a clarinet prog but progressive all the same. However ‘I’ll Do The Begging’ is a reprieve with a lush melody and a swooning multi-layered vocal that draws you in in a good way.

‘Small Crumbs’ is a throbbing bass line and heavy guitar lick. With a big chorus. We’re four songs deep and four very different offerings but there is a really nice flow to these songs. Carol loves a strong melody but is as comfortable taking it down n dirty or swooning with the angels.

Queen of fitting in is Hodge at her best in storytelling and balladeering mode. There is no stone unturned here Carol’s strength lies in her personal confessions and relatable worldly lyrics that touch many of us, covering topics such as Neurodiversity, Insecure Attachment, Self-doubt/Self-worth, and the Autistic Spectrum. This is her heaviest and strongest album to date no doubt about that and the strength is in the lyrics and being comfortable in her skin and head and that’s like a superpower here.

‘Temporary Interlude’ is a heaving beast as it is the sound of someone on a charger leading the fight and flying the flag for being different and embracing that difference such a captivating array of sounds a real headfuck but it works so well.

The bravery of this album is immense and Carol should draw strength from the fact that she’s pretty bloody good at this songwriting and delivering lark making it look like a piece of piss. The album then grinds to a juddering halt with the beautiful ‘Ever Reliable Pain’ to put a softer full stop on proceedings creating a superb atmosphere on a rollercoaster of a record. Be proud of this Ms Hodge its chuffin excellent, you are one talented songwriter. Buy It!

Buy Here

Autor: Dom Daley

BLACK SPIDERS – NEW ALBUM & VIDEO

BLACK SPIDERS – NEW ALBUM & VIDEO

BLACK SPIDERS TO RELEASE NEW ALBUM ‘CVRSES’ DUE FEBRUARY 28TH, 2025 ON THE DARK RIDERS LABEL VIA CARGO DISTRIBUTION.

PRE-ORDER ‘CVRSES’ HERE:

UK TOUR DATES CONFIRMED FOR APRIL 2025

www.blackspidersband.com

Nothing is ever easy for Black Spiders, never straightforward, there’s always a plethora of circumstances, bad luck and karma. Their last album, released in 2023, was titled ‘Can’t Die, Won’t Die’ and here we are at the dawn of 2025 and they’re still not fucking dead. Back with a brand-new album of high-voltage smashers, the Sheffield righteous rockers are set to release new album ‘Cvrses’ this coming February 28th on Dark Riders via Cargo Distribution.

Featuring twelve new tracks of exactly the kind of soaring rock ‘n roll action we’ve all come to expect, love and demand from Black Spiders, their intentions are the same now as they were from the very moment they started back in 2008 – be true to yourself, no compromise. 

“Stick to that formula and everything will be alright is what we hope and then with a little bit of luck life might surprise you,” says guitarist and singer Pete Spiby. “It’s our fifth album, from the point of view of myself and Irwin. It’s our best. Our statement of intent has not changed from day one.”

Recorded once again at Axis Studios in Doncaster with producer Matt Ellis behind the wheel, ‘Cvrses’ is, and of course all bands say this, very possibly their best album yet. It successfully distils everything that is thrilling and life-affirming about Black Spiders unique brand of thumping heaviness. Massive riffs, massive hooks, massive beats. It’s all massive.

Today listeners can get a taste of just how rockin’ the new Black Spiders songs are with their rousing new single ‘Out Of Order’. The band are in such rude health that this tune is not even on the album, but it’s by no means an offcut, instead ‘Out Of Order’ shows us all exactly where Black Spiders are at right now; maximum amped-up rock ‘n roll with a fun video to boot.  

“We wanted to give people a vibe of where the new album may be heading and have some fun with the video. We didn’t really have any budget, so we took inspiration from many places and paid homage to the old ‘United States of Whatever’ (Sifl & Olly version) single by Liam Lynch,” says Pete. “The song itself is a rant against God. For when things go wrong or not the way you planned and giving us such a shitty life.”

“As long as that drive is in the tank, we will keep going, because that’s what we need to do,” summarises Pete and Cvrses to anyone that tries to stop them.

Catch Black Spiders live in 2025 at the following dates:

19/04 Birmingham – Asylum

20/04 Derby – Hairy Dog

21/04 Manchester – Rebellion

22/04 Exeter – Cavern

23/04 London – Signature Brew

24/04 Newcastle – Newgate Social

25/04 Sheffield – Corporation

26/04 Crumlin – The Patriot

27/04 Leeds – Key Club

The Wonder Stuff – Hup 35th Anniversery Tour -O2 Academy, Bristol 07/12/24

The Wonder Stuff – Hup 35th Anniversery Tour -O2 Academy, Bristol 07/12/24

“Is that a smile that hangs beneath your nose”, That lyric kept entering my head as Mylo in 2024 seems to grin and smile quite a lot these days. Maybe maturity or finding comfort in one’s space has mellowed the once provocative, angst-ridden frontman. To be fair I used to love it when he’d pour scorn on someone or show his contempt but as we all grow older I’m also loving seeing Milo so damn happy and halfway through the first set he did say with some enthusiasm that he was really enjoying himself and it shone through like a lighthouse. The enthusiasm was infectious and the quality of songs on offer helped, obviously.

Now getting to Bristol from deepest darkest West Wales was not an easy thing to do seeing as half the place was without electricity and it seemed that every tree wanted to block a road and river burst its bank not forgetting that all trains, planes and busses were cancelled. But this was ‘Hup’ and a full rendition as promised by Milo as well as some other chosen cuts from their arsenal. Maybe a while longer than it should have taken us but we did get there unscathed and boy were we glad I made the effort.

The lights dimmed and a packed O2 cheered as the intro tape rolled as the last thirty-five years were peeled away in seconds and the word was indeed out! ’30 Years In The Bathroom’ sounded every bit as vibrant and decadent as it did all those years ago. So a couple of the main protagonists are still cutting it and as the album unfolded in sequence it was an absolute joy to hear especially the songs that don’t get brought out often or the absolute bangers that have been stapled and then banished to the naughty step. ‘Golen Green, an epic ‘Cartoon Boyfriend’ was simply majestic. No wonder Milo was enjoying himself he bloody well should be this band sounds superb.

‘Don’t Let Me Down’ followed by ‘Can’t Shape Up’ had me reminiscing in my head of dozens of shows around the time like it was yesterday and I wasn’t some knackered old(er) man but it was that bass thump of ‘Goodnight Though’ that used to conclude Wonder Stuff Shows this was weird but man I absolutely love that song and the intro on the bass thing. As Milo howled into his megaphone set one was very much concluded and all around were beaming – that boys n girls was fucking ace! Malc just got on with business cutting his shapes on the left of the stage next to Erica who always adds much sparkle to proceedings with her impeccable fiddle skills. and on the other side of the stage, Mark Gemini Thwaite stuck to the six-string and played his part impressively whilst the rhythm section certainly kept the engine stoked with all the power and finesse the songs deserved.

After a brief break and a quick call home to see if our house had taken flight al a Wizzard Of Oz, it was back in for a run through some awesome tunes that were selected for the second half of the set both old classics and more recent but still excellent tunes and a much under-appreciated album being ‘Better Being Lucky’ and its prime cut of ‘Don’t Anyone Dare Give A Damn’ but it kicked off with a couple of groovy machine picks in ‘Red Berry Joy Town’ and a carefree ‘Ruby Horse’. Of course, there were a few ever presents in the shape of ‘On The Ropes’ the amazing ‘Mission Drive’, followed by ‘Caught In My Shadow’ before the ho-down of ‘Size Of A Cow’ preceded ‘Give, Give Give’ as the crowd took over the vocals. The band left the stage for a second time only to return for a much-deserved encore of two which left ‘Ten Trenches Deep’ as the fairwell ringing in my ears for the journey home and the knowledge that The Wonder Stuff 2024 still cut the mustard and delivered a totally thrilling and enjoyable live show.

To be fair that was as good as anyone old or new cutting some shapes on the live circuit. Now can we do this again next year with another South Wales date, pretty please Milo? If there’s no anniversary to celebrate let’s just call it the nothing to celebrate except we’re still here Tour. I’ll have a shirt and a mug thanks. That was as good a show as anything I’ve seen the band do in the last thirty-plus years, I fuckin’ love The Wonder Stuff.

Author: Dom Daley

Lifer – ‘Lifer’ (Self Release)

Lifer – ‘Lifer’ (Self Release)

Keep A Good Heart Son is the opening track on what is a thoroughly impressive album from South Wales Old School Thrashers Lifer. Now I’m no expert on the genre of Thrash but sometimes it’s nice to step out of your comfort zone and dip your toe into some shark-infested waters and I do like Slayer and a few of the other heavier offerings and this is right in the same wheelhouse with some superb galloping riffs and well placed diabolical screams. Lifer are the real deal.  If these gentlemen were from Northern California then they would be a sensation however they’re not they hail from various parts of South Wales that have a rich heritage of knocking out some top Heavy Rock. These boys can chop those riffs with the best of em and if they need to slow it down like on ‘Man And Pigs’ they can chug out the Iommi riffs when it suits and in the vocal department they have a contender to the Bush-era Anthrax which isn’t a bad thing either.

From the opener they nail their colours to the mast and head into battle. The production is spot on with every corner carpet-bombed with riff-a-rama and pounding drums Lifer are having it large here. The grunt on ‘Imperious Delirious’ is huge and they effortlessly glide from the thrash to a more measured grunt. ‘Different Kind Of Plan’ is rapid and the intensity intensifies on ‘Born To Lose’ the Thrash reaches its pinnacle on ‘Rise Above’ which gives the listener a proper seeing to. Fuck you all indeed, a stinking attitude and all the better for it. Thrash with all the old school attitude and a breakdown to rival the mighty Hanneman n King for intensity – music to run through brick walls and face the toughest days.

‘Hallowed Be Thy Pain’ opens with some cotton-picking harping n delta blues before having a shot of defribulation for a mid-paced slice of metal where the twin guitars shine. To be honest I don’t want the Metal I just want to Thrash and these boys do it as good as anything Stateside here and when they let their hair down (Cough Cough) they cut loose and make some most excellent noise. ‘No Good Deed Goes Unpunished’ is battered out of the way by the steamrolling ‘Fire In The Hole’ which is truly Metal Thrashing Mad and I love the riff makes me want to invite the neighbours round for a circle pit followed by a wall of death before I chug some beers. I’m not even taking the piss I’m sold right here and Satan can’t have my soul because Lifer have got it.

After all the madness and Pwoper Frash it’s ‘Stone Widow’ that’s left to take this bad boy home in true Metal style from the dusty opening of voice and clean guitar the song winds its way home through stormy seas building with some monster riffs and soaring vocals taking us to the roots of Metal via some Sabbath patented Riffs and the last forty years of the heaviest Rock out there Lifer have delivered a compelling case for Metal album of the year and in time for Christmas as well. When these boys turn up the heat and Thrash like fuck they absolutely nail it. Get involved and get those horns in the air. These gents are so nice they’ve even recorded clean versions of four of the songs so they’re not totally satanic.

Lifer

Distrokid

Author: Dom Daley

Brother Brick – ‘A Portable Altamont’ (Bang Records)

Brother Brick – ‘A Portable Altamont’ (Bang Records)

For the first time on vinyl, a great Australian high-energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. It is held in the same regard as Bored!, Asteroid B612, and New Christs—a real underground gem of OZ rock. Thanks to Bang Records this is the vinyl debut of ‘A Portable Altamont’ – Fully Remastered Edition to capture the raw power and energy that defined their high-octane sound.

This release showcases the band’s grit, the superb rhythms, and all held together with some sumptuous melodies clearly students of Detroit’s finest The Stooges and MC5, but with that unmistakable Aussie magic sprinkled in the mix.

Something of a staple in the Sydney underground. I’m happy to admit this is my introduction to the band and better late than never this is a superb introduction. Originally only available on CD, ‘A Portable Altamont’ has all the high-energy you’d expect from down under officiandos of the garage rock sound, with blistering guitars at every opportunity and melodies. As with most Australian bands from the alternative genre, there is a beautiful raw, unapologetic aura a nievaty maybe of a band just kicking out the jams. If you’re a fan of loud guitars, powerful melodies, and pure rock ‘n’ roll attitude, this is another Bang release that’ll tick all those boxes you’ve come to expect. From the opening thump of ‘The Same’ it’s absolutely raging. There are plenty of absolute belters like the riff-ola of ‘Chip On My Shoulder’ that would give any Steve Jones aficionado a run for their money. The tone is like a bomb going off in the speakers and it doesn’t end there its a beast of a song and like I said one of many.

It’s not all about the wall of raw guitar attack mind because the rhythm section goes toe to toe with some thumping hypnotic grooves like ‘Beyond My Hands’. The breakdown in so simple yet absolutely killer and when the band kicks back in its awesome.

There isn’t a bad song on here and even the more mellow moments sound like a fuckin landslide ‘Derelict Eyes’ on the back of the brawling ‘Chokito Bar’ that is as close to a bar brawl as you’re likely to hear. Side one closes with a bluesy rampage ‘No Turning Back’ and it’s time to flip this one over and get stuck into side two.

More of the same please gents as ‘Rock n Roll Marie’ comes spitting out of the speakers looking for trouble. ‘Feel Strung Out’ is the only way feeling strung out is appetizing in any shape or form. They do kick back a little on ‘Drives Me Wild’ but the filters are open and everything is set to the loudest possible setting. After one play of this, you are left wondering what it would be like stumbling across these cats in a barroom – it would be dangerous for anyone of a nervous disposition and if you’re like me with a dicky ticker get the defribulator on speed dial you might just need it. Hell, even the instrumental ‘Help Yourself’ doesn’t deter me from starting a one-man mosh pit. Before we check out and take a lie in a dark room we are treated to the full on fuzzed out fucked up ‘We’re Not Like You’ before we have to say goodnight with one final triumphant song entitled ‘Rock Action’ (of course it is). Brother Brick delivering the goods and if you’re looking for a fix of the good stuff then this is the one you need to get on. Buy It!

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Ronnie Simmons ft The Redback Spiders – ‘Bite! Part One’ (Suburban Records)

Ronnie Simmons ft The Redback Spiders – ‘Bite! Part One’ (Suburban Records)

Ronnie Simmons and The Redback Spiders are currently touring their “Bite! Part One” EP across Australia including sold out shows as special guests for glam rock legends The Sweet. The Redback Spiders are Hayden McGoogan and Sean Anderson on guitar, Tommy Hills on bass and Chip Scanu on drums.

Australian Rock guitarist Ronnie Simmons and his new band The Redback Spiders debut their killer punk influenced EP ‘Bite! Part One’ Today. Based in Sydney Australia now, Ronnie Simmons (Rose Tattoo, Richie Ramone, ex-Faster Pussycat) fronts The Redback Spiders who are Influenced by classic punk and Australian pub rock with a tinge of ska. The EP “Bite! Part One” was written and produced by Ronnie, who played all guitars, saxophone and sang, it was engineered and mixed by Clay Davies (Bullets and Octane) at One More Time Recording in Los Angeles. The EP features iconic industry legends Richie Ramone (The Ramones) on drums, Johnny Martin (LA Guns) on bass, Danny Nordahl (Faster Pussycat) and Scott Churilla (Reverend Horton Heat & The Supersuckers) on backing vocals. The record is a sonic account of Ronnie’s journey cutting his musical teeth in the pubs of Sydney Australia, to living in Hollywood California, touring the world and life in 2024 as a rock ’n’ roller.

Having got a tip of the hat fro none other than Slash things are looking good for Ronnie. The six track EP kicks off in sprightly fashion with the energetic ‘Little Miss Understood’that has the seal of former Ramone Ritchie Ramone on the drums in the engine room cooking up a punchy beat with Rhythm section expert Johnny Martin who add some drive in the engine room that helps rock out on this upbeat opener. I can see how Slash would have been on board with the tone of that guitar solo that rips out of the speakers.

The flow of this ep is excellent and with the big bright production it has real potential to do well anywhere on this spinning rock. ‘Alone With You’ has an ear on the FM radio stations if they’re looking for a fix of big well-produced rock n roll. It’s got a big melody and enough dirt to pull this off.

‘You’d Think I’d Learnt’ is where the Ska enters which was unexpected in the verses but the chorus has attitude. With there only being half a dozen songs its bite-sized enough to consume in one go and the Ska continues with ‘Don’t Follow Me’ with its big horn honkin’ chorus to skank along to.

To be fair all the choruses are strong and regardless of the style it flows really well. I particularly like ‘Artificially Sweet’ for its punch but its cheeky wink with the pop melody but the guitars rip and the chorus ensemble is top-notch.

The EP closes with a rockin’ ‘Eaten Alive’ with its storytelling quality I’m left wanting more and looking forward to my second Bite already. Way to go Ronnie you got this.  

Buy Here

Author: Dom Daley

Quireboys/Willie Downing & The Invisible Band/Continental Lovers – Corn Exchange – Newport – 17th November 2024

Quireboys/Willie Downing & The Invisible Band/Continental Lovers – Corn Exchange – Newport – 17th November 2024

NO DRINKS ON STAGE – “that’s Luke Morley’s doing” jokes Quireboys’ frontman Spike as he spots the large warning signs stuck onto the front of the venue’s on-stage monitors. “He’s had me and Nigel practising too”. But what are the band going to sound like when they have rehearsed and not had too many sherries beforehand?

We’d been chatting in the pub beforehand about the times we’d all seen the Quireboys over the years, and the one thing we all said was “We’ve never seen a bad Quireboys gig”, but would a line up featuring two ex-members of Terrapin (thank you Spike for that little gem) on guitar and drums and the one time bassist/singer from (“remember the name”) The Grip match those high standards already set? Might tonight actually end up being an exception to that golden rule, even if ‘Wardour Street’ the album the lads are out on the run of shows to help promote is indeed a little bit of what every Quireboys fan should fancy?

Before all of that palaver though I’m in early doors tonight to catch the RPM approved Continental Lovers, who are playing some carefully selected Quireboys shows to help promote the upcoming release of their all new ‘Self Titled’ thirteen track debut album. Having last played Newport’s nearby McCanns basement venue just over a year ago the four Lovers instantly look just at home on this venue’s more expansive stage, the gigs they’ve played in between obviously reaping them full reward, as opener ‘St Joan’ crashes headlong into (my favourite tune by the band) ‘Tape Deck and we’re three songs in with barely the same number of minutes on the clock. It’s glam punk rock ‘n’ roll played fast and a hell of a lot of fun to (Chelsea) boot. 

As the crowd begins to fill out, I move back towards the mixing desk to take in proceedings, and as new single ‘Connection’ chimes in I can sense the levels of excitement rising through those lucky enough to get in early. In fact, from the number of Continental Lovers’ 7” singles I later see in people’s possession I’d say my glam punk senses were bang on point.

Closing things out with a cover of ‘Dead Flowers’ (think more the Dogs version than the Stones original) is perhaps something of an open goal, especially given tonight’s headliners, but every goal counts in this game and tonight Continental Lovers come away with all three points. “Victoire”.

At this point I have something of a confession to make, I’ve really struggled to get my head around ‘The Simpleton’, the new album from Willie Dowling, it’s not that it is a poor record, it’s just, errr…. not an easy listen (the last time I can remember this happening quite so clearly was with ‘Spilt Milk’ by Jellyfish around three decades or so ago).

It’s something that Willie himself explains to the audience from the get-go (phew, so it isn’t just me) as he takes his place behind his keyboard alongside his bass playing amigo Andy Lewis, with the rest of the music being provided by Willie’s electronic box of tricks and hence the band’s “Invisible” moniker.

The music itself isn’t a million miles away from the songs he’s previously written with Jackdaw4 or as part of Dowling Poole, but the lyrics are easily his most politically driven to date, as one listen to the likes of ‘Long Drop Down’ or ‘The Gravy Train’ soon prove. There’s even a heckler when Willie dares to criticize the calamity just waiting to unfold in the US in 2025 as he introduces Dowling Poole’s ‘Fuck You Goodbye’. Hmmm, perhaps ‘Long Drop Down’ is more prophetic than the songwriter could ever have imagined, and who would have thought that such stinging political messages would be delivered via tracks that actually sound like they were written during the days when the UK charts where full of names like Supertramp, Queen, Sparks and 10CC and not via the usual platform of punk rock? Has Willie perhaps unintentionally invented a new subgenre of politically charged progressive powerpop with ‘The Simpleton’? Only time will tell, I guess, but you can next catch the duo out on the road promoting the record with Cats In Space in the run up to Christmas and on a nine date 2025 headline tour.  

For the longtime Willie fans in tonight there’s a reworking of The Grip’s ‘Vera Daydream’ slotted in at the end of the set tonight, and as the duo leave the stage to their loudest cheer of the night, I’m reminded of the one and only time I saw that band, supporting (yup you guessed it) the Quireboys, then complete with their bar stage set, something that sadly isn’t with the band anymore, but their It Ain’t Half Hot Mum intro tape most certainly still is, and it’s soon booming from the Corn Exchange’s crystal clear sound system and Newport’s population of lovely boys (and girls) fall into line ready for tonight’s main event.

It feels a little odd watching Thunder’s Luke Morley strapping on his guitar and launching into the riff for opener ‘Jeeze Louise’, but only for about 30 seconds, because as soon as Spike opens his mouth to sing the opening lines and bassist Nigel Mogg quickly bounds across the stage to conduct the evening’s first Scorpions like pile-on with the six stringer, you can be in no doubt, this is very much a Quireboys show. Then there’s the smile on his face when they then race headlong into ‘Can’t Park Here’ which speaks volumes for how much he is also enjoying his time sharing stages with these two rock ‘n’ roll dandies.

The between song banter between Spike and the six stringer is fast and, at times, furiously funny, and the rehearsals I mentioned at the top of this review have certainly paid off for the band with new tracks like ‘Raining Whiskey’ (dedicated of course to Frankie Miller) and ‘You and I’ sitting pretty next to the likes of ‘Misled’, Tramps & Thieves’ and ‘Hey You’ and stand in drummer Harry James turns in a faultless shift in Rudy Richman’s absence.

Over on the piano there’s that Willie Dowling once again, now filling in for Chris Johnstone whilst also filling out the overall sound with the band seemingly settled on a reduced five piece format, although I do miss that added KLANG that the Ronnie Wood style second guitar always gave the band.

I also cannot go without mentioning that not only does the band’s merch tonight include two quotes from ex-members of UFO but whilst Mr Mogg was digging out his favourite Gibson Thunderbird for this tour he must have in the process also found all his old Pete Way VHS tapes, because he is absolutely on fire at the moment, throwing shapes left, right and centre, and this only serving to provoke his singing compadre to once again throw his mic stand around like Rod Stewart in his early ‘70s prime. And speaking of which, if I thought ‘I Think I Got It Wrong Again’ sounded like The Faces on record, then live, you could almost close your eyes and think you were back in 1970 watching one of the earliest UK shows by said band, and if that song is The Faces then ‘Happy’ really could be a Rolling Stones song. Magnificent stuff indeed.

These shows are of course overshadowed by the fact that founding Quireboys’ guitarist Guy Bailey passed away before ‘Wardour Street’ could be recorded and as such Spike dedicates an emotional ‘King of New York’ to not only the perma-behatted guitarist but also his father, who apparently thought the track was the best the band had ever recorded. You can almost sense Bailey smiling down on the band as they then draw the set to a close with a riotous ‘There She Goes Again’, ‘Roses & Rings’ and ‘7 O Clock’.

With the 10:30 curfew having long since passed there’s just enough time to raise our glasses in the air for a quick run through of ‘Like It or Not’ before we are all sent home with “something in our eye” thanks to an exceptional rendition of ‘I Don’t Love You Anymore’.

An emotional night for sure, and one that should silence not only any critics but also answer any nagging doubts you might have about what the Quireboys in 2024 are all about.

This is rock n roll, and I love it!

Author: Johnny Hayward

Its A Podcast Episode 51- Scandinavian Overload

Its A Podcast Episode 51- Scandinavian Overload

Episode 51 mixes brand-new tracks with some older classics that might have been forgotten, as well as an overload of covers.

First up is the exciting news that Midlife Crisis have a date of Feb 25 for the release of the long-awaited album. Fans of Hellacopters and Backyard Babies might want to tune into this bad boy. We play the opening track off the album ‘Silver Son Johnnie’ ’45 to 33′ is the name of the album and pre-orders to come along with a review of the LP.

Local South Wales noisemakers Bad Shout have an EP coming out in December on Repeat Records and its a banger. Six tracks of fizzing punk rock and we drop ‘Doublecross’ to get you excited and up for the preorder off Repeat.

Scandinavia features heavily on this week’s podcast with entries hitting Pumphouse HQ and the second offering from the North is Plastic Tears and their brand new single ‘Motorhome’. Hot on the heels is The Ratchets with the sound of Noo Jersey and ‘Holy Mother Of God’.

From the compilation album ‘Fucked By Rock’ Crazyhead should have been huge. Spearheading the Greebo scene they easily had the coolest single title ever committed to wax in ‘What Gives You The Idea Your So Amazing Baby’ but we entertain ‘Buy A Gun’ a forgotten classic. Probably not a song for the PC brigade but we love it and it would be nice fo the compilation to get a vinyl pressing doncha think?

David Delinquent and The IOUs are a new one on us and the Dundee pop n rollas have released this single ‘Nobody’s Else’ and what a banger it is. Looking forward to hearing more from David and his Delinquent mates if it’s even half as good as this. We need to get these bands into peoples ears folks and the only way to do that is to play the podcast and share the music.

Dharma Guns are a new one on us and rather impressed we were. ‘Ex-Generation Superstars’, the band’s debut, is all about high-octane rock ‘n’ roll with a side order of sleaze, don’t believe us well, give it a listen. Followed up by the king of catchy power pop Kurt Baker with his brand new single out on Wicked Cool Records (where else).

Front Kicks dish up some power pop before Heavy Medication Records newest release the Never Land Ranch Davidians rock up with ‘Cactus Cool Man’ and get on the groove from their forthcoming album due in Feb 25 it promises to be another top notch release to look forward to.

Laura Jane Grace has just toured England in support of the brand new album or mini-album ‘Give An Inch’ so it seems fair to drop ‘Karma Coming Close’ from the EP.

A Knife For An Eye are up next with a thumping track off their album ‘Damnation Rock N Roll’ again outta Sweden its fair to say they’ve really impressed us here at HQ. The album cover is very striking as well with the classic Chuck Berry pose really setting the tone for some attitude adjustment as ‘Getting Hooked’ is on point because we certainly did.

It’s cover time and this week we have the interesting take of the Dead Boys classic ‘Sonic Reducer’ from Sweden’s 69 Eyes followed up by a demo of The Dead Boys that’s on their recent new record out on Cleopatra Records. A previously unreleased Stiv led tune ‘Ya Really Don’t Love Me’.

For a little reminder of how good the genre of fuzzed-up Garage rock could sound we have Datsuns ‘Mother Fucker From Hell’ off their debut record. For another cover and we head to NYC and Electric Frankenstein who did a split with shit islands’ own still warm but sadly deceased The Hip Priests and took on their early banger ‘Young Savage’.

The penultimate offering this week sandwiched between some Garage rock n Metal we bring the excellent Steve Vincent with the title track off his solo album ‘The Best Kept Secret In Rock n Roll’ anyone who doesn’t know is myself and Steve still wears the finest pairs of Rock n Roll slippers also known as pixie boots or macho types refer to them as Chelsea boots but to give him credit Steve has quite the collection and hopefully we can see him wearing a pair live on stage sometime in 2025.

Finally, we’ve given in to Chris and his persistent nagging to get Therapy On the playlist as well as Judas Priest but I couldn’t possibly play anything by Halford and co so relented when he informed me that Therapy? had indeed paid their respects by covering ‘Breaking The Law’ so squeeze into your spandex, strap on your studded wrist bands and pull a wheelie on your chopper as we end with ‘Breaking The Law’. Catch you next week for more quality tunes from the Pumphouse here at RPM Online HQ.