Just Shy of 400 pages the follow-on book to ‘Salad Daze’ sees Wayne picks up his pen and writes his story from ’85 to ’90. A time when Rock bands who had hits and worked hard could reach the heady heights of playing at Wembley Arena and globe-trotting with all the trappings of success you know Sex, Drugs and Rock and Roll and to be fair The Mission did all three in copious amounts it would seem. This isn’t a day-by-day or month-by-month diary entries but more in conversation with one of the finest frontmen of the time. Sure there is debauchery and boys together fun ‘n’ sun stories a plenty (why wouldn’t there be?) As part of one of the UK’s biggest Rock bands, Hussey was larger than life and was intent on living the dream to its fullest. However, amongst the larger-than-life stuff, you also find a man who is thoughtful, shy, caring, and humble and one who carries a sense of humor about who he is and where he is.

1985 to 1990, the time frame the book lives, The Mission had released the epic ‘God’s Own Medicine’, ‘Children’, and ‘Carved in Sand’. So it makes perfect sense that the time spent on the albums are laid out in vivid detail. Wayne is a colourful charachter and as he says himslef loumouthed, opinionated, arrogant, shameless, brazen Rock Star and to be fair credit where credit is due he bloodywell was. With the records being front and centre, you do get a real sense of pride in his and his bandmates work. Wayne was determined to enjoy the good times and deal with any bad that would come alongside. You do get the sense that the other side the shy, private (not that you’d think it) reflective side this is a man who appreciates with the power of hindsight everything his talent has afforded him. Prefacing the tome with the fact it might be a pack of made up wishfulthinking lies or the Gods Own Truth is everything and nothing and perhaps a little mischiefess or a riproaring giggle to the gentlemen in the band.

Wayne being the type of person who comits everything to a project or why bother also constructed a playlist to accompany the book all designed to enrich the reading experience of this here book (nice thoughtful guy) some bangers that indeed help to add a time and place to the story for the reader.

I did laugh out loud throughout the book at certain stories which all began at the descriptions in the prologue – Cast – Craig Adams – Lank, Manky Dark Hair, snub-nosed, skinny. and so it begins. I know some fans will then go and debate the fact that how dare Wayne call Craig he of Manky Dark Hair but it is what it is and I chose to laugh at his description of Lurch. He then goes on to explain himself as having a long Conk. and it begins in Leeds with a script of the two taking a bus ride it is neither romantic nor true probably even admitting to smoking Silk Cut has to be folly. but the anecdotes are amusing as are the tales however tall. It was a magical time to follow a band like the Mission let alone be in the band on the rise at a time when the decadence of excess was still full throttle.

The band had a close bond with the fans throughout their career maybe less so when they hit arena success but hey ho shit happens. Wayne does allude to that in the book and offers it up as one of his possible regrets. However, fans of the band and this particular period will have fond memories revisited of touring with U2 or the Cure recording with one of Led Zepplin, and hanging with the biggest stars in the business legitimately.

Throughout the book, you do get an insight into the man writing the book and a newfound fondness and respect for who he is – who he is. When writing a book his second as it goes and a third to follow bringing us up to date in Waynes World (there is a good title, no wait) he writes from the heart, and it’s like a chat over a few nights down the pub with a mate whos lived a little and that’s not something every book delivers. It’s weird I’ve interviewed Wayne and it was a highlight of doing what I do amongst all the people I’ve had the pleasure of meeting and I still get a thrill watching them live now as I did pre ‘Gods Own Medicine’ so when Wayne alluded to the writing of these books I was excited and having read the first two I wasn’t disappointed at all, in fact, the opposite I have a greater respect for the man who wrote them and I found myself laughing out loud and shaking my head in disbelief in other parts but the overriding thought was doesn’t it make you sick with some of these people whatever they touch they make it look piss easy and are equally good at it be it writing music and performing or writing a book – fuckin show offs make me sick coming here with all that talent during their heady days when it would have been just as easy to bullshit and make believe instead of writing a bloody excellent book of a magical time, not many people get to experience and doing it so bloody well. Onto the most recent chapter in the trilogy, I can’t wait but I won’t say the final chapter because that would be a tragedy. Long live the Mission and long may Wayne continue to lead the band through the garden of delight in some very different times. A fantastic book for a fan of which I am, and a really enjoyable read that I couldn’t put down. Job done.

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Or head to the bands website to pick up a signed deluxe edition Here

Author: Dom Daley

Whilst most of the rest of the UK is seemingly trying to cram itself into Cardiff tonight to watch some talent(less) show pop singer we’re (thankfully) heading in the opposite direction on the M4 (which is like a car park going the other way) as we breeze into Bristol unfashionably early, just in time to catch the first of tonight’s three band bill… which really is the antithesis of everything going on back home.

Seven Crowns from Bath who’ve been shoehorned onto the bill to give maximum value for mayhem get to give those of us in early doors an immediate bloody nose as their brand of punk/metal kind of reminds me of that time I once put an Eyehategod LP on at 45rpm by mistake (go on, try it). It’s fast., brutal and as heavy as a million burnt out suns. The fact that they have been together for 20 years and released multiple albums is quite staggering for yours truly as I really don’t think I’ve ever heard of them before, but in saying that when their singer Jonny Bainbridge admits they can’t be arsed to promote their new single, or in fact name it when they play it live, then perhaps I shouldn’t be that surprised after all. The locals must be aware of them though as they are all crammed around the doorway of The Exchange’s live room, making it almost impossible to get out for a pint or indeed a piss, all seeming positively terrified of the four piece, and there is an element of S.S.S meets Poison Idea like danger to their performance, but me I’m happy to be front and centre savouring every moment of discovering yet another great punk band.

I discovered The Hip Priests, Nottingham’s nefarious purveyors of black denim blitz-rock a long, long time ago. In fact, I’ve probably seen them live more times than any other band, but tonight is the first time I’ve seen them post the release of their fifth studio album ‘Roden House Blues’. Thankfully those who had been cowering in the corner of the venue for Seven Crowns pack the dancefloor for opener ‘Stand For Nothing’, the Jugend pleasing “woah oh woah-ing” chorus hitting the garage punk bullseye straight from the get go.

Whizzing through a set containing some of the band’s best singles (‘Jesus Died So We Could Ride’ and ‘Cheers To Me’ take a bow) along with a tasty smorgasbord of tunes from the aforementioned new album (‘The Best Revenge’, ‘Can’t Abide With Me’ and ‘Shakin Ain’t Fakin’ all getting the faithful dancing) it’s impossible to fault the boundless energy and commitment of the five guys up on the Exchange stage.  Guitarists Austin Rocket and Gentle Ben trade licks like Kramer and Smith on speed at opposite sides of the venue whilst in-between them giant of the bass rumble Lee Love along with frontman Nathan Von Cruz tease and please those diehards draped over the monitors. The surprise performance award tonight though must go to drummer DP Bomber who is like an East Midlands Tommy Lee behind his kit, and as we all know great bands all start with a great drummer.

The Hip Priests most certainly have a tiger in their tank right now, but they save the best until last as they thrash through ‘Juiced Up And Loose’ and leave everyone hot, sweaty and wanting more. Now, talking of which, where was ‘Zero Fucks…..’ Only joking lads, I know it was a support slot and time was tight, although in saying that, tonight the world revolves around Zeke Time.

Zeke really are like no other band in the world right now, as tonight they play for around 40 minutes and in that time bludgeon their way through somewhere in the region of around 25 songs. It’s not fast, its fucking hypersonic hardcore, and the fact that they do all it without a single set list on the stage is nothing short of a modern musical miracle.

Whilst trying to track said set list for the purpose of this review I just had to give up and simply enjoy the moment, as the band, as always, chaperoned by singer guitarist Blind Marky Felchtone, thundered through the likes of ‘Holley 750’ ‘Two Lane Blacktop’ and their as always awesome cover of ‘Shout It Out Loud’ like they were on dreaded a club curfew (they weren’t by the way) and my fellow gig-goers hurtled past me with expressions on their faces like they were trying to escape a zombie apocalypse, by way of some sort of twisted appreciation.

BMF is certainly a man of few words between songs (its normally just a series of noises and grunts, that to my ears have always sounded positively West Country-like) but when he tells everyone that drummer (and band co-founder) Donny Paycheck is playing everything a little fast tonight, the affirmative roar he receives in response should be proof positive that what Zeke do they do very, very well indeed.

Special mention must also go to bassist Jason Freeman and guitarist Jeff Hiatt, who put in a towering shift on the opening night of this extensive European tour, and I can just feel it in my bones that the upcoming album that this line up has just recorded is going to be an absolute headfuck.

With The Exchange situated deep within Bristol City Council’s recently introduced Clean Air Zone I can’t help think the enforcement agency employed to collect the tariff for noxious vehicles travelling within it perhaps missed a trick with Zeke in town tonight, because this eight legged punk rock juggernaut is easily the most toxic thing on the road anywhere in the world right now, and we wouldn’t want it any other way.

Author: Johnny ‘ZFG’ Hayward 

It’s been a while I’ll give you that. One man Trash Rock n Roller Kevin K has released a bazillion self released albums over decades and its been a whilse since we heard from the man and then an email hits the virtual doormat with a thud and low and behold its only a new long players from da Man containing his heaviest bunch of lo-fi tunes to date.

He’s been leaning on the fact that these tunes are his heaviest songs in a Blackest of Sabbath way and as soon as the title track kicks in you get his drift. Kevin took himself to Detroit to record in a cold dark basement just to set the tone and boy has it shaped these tunes. In an age where you can produce a piece on pro tools in your toilet if you so wish and get amazing results but Kevin heads to the basement and digs up a tascam four track and buries it in the dirt then digs it up and then begins recording. Twelve songs the next as dark as the previous taking a heavy metalic goth sledgehammer to each track.

‘Broken’ is heavy distorted riff-a-rama but heres the thing its not a giant leap his vocal is instantly recognisable for fans of his work and the solo is sweet whilst the drum machine plays on behind the wall of fuzz its a cool riff and a great way to kick off the album.

Kevin pays tribute to one of the finest bands ever to walk the planet with ‘The Lords Of The New Church’ not a new idea one that Michael Monroe did very well on his solo path and an idea that Stiv did with the Dolls so full circle is done and I do like the use of the tracks riff. ‘Wrong Way To Hell’ is an aggressive little bugger and I also like the riff on this I can imagine this done in a studio with a real live band and a big production being a bit of a beast and the melody is really good.

The theme follows throughout with strong vocal melodies from the Double K with fuzzed up fucked up guitar riffs kicking the tunes out of your speakers with less abrasive vocals from KK. In a dark Hellhammer kinda way ‘Prayers Of Life’ bursts into life.

The lyrics tread familiar ground for Kevin but you knew that but the change here is trading in those Thunders licks n fills for a blunt trauma forced guitar hitting your speakers with little finesse and it actually works for Kevin. The album gets a little lost midway with the same tempo and drum sound and beats but ‘Winter 22’ soon sets that to rights. Something as a little interlude ‘Winter 22’ is some light relief before heading back into the darkness with ‘Catacomb Heart’ a rolling solaplex punch of a riff over a staggering stuttering beat before a brief dark bridge and then heading back into the darkness. Excellent song.

The record signs off with a one man assault on the Dead Boys classic ‘Caught With The Meat In Your Mouth’ that ends as abruptly as this record begins. A cool experiment from Kevin K and over all it actually bloody works. Dive in summon the beast and let some darkness into your world. Kevin K did and made a record.

Buy Here or Bandcamp

Author: Dom Daley

Way back in 2015 when influential Cardiff based punk rockers No Choice decided to call it a day, I was the person the band’s frontman Gagz decided to share the news with first. I was co-running and writing for Uber Rock back then and I’d been raving about the band’s 2012 released third album ‘Thru It’ to anyone and everyone who would listen to me, and checking up with Gagz to find out how that record’s follow up was shaping up, it came as a real shock to not only find that band didn’t feel like they were in a position to write album number four, but also, not have the energy to once again enter into the whole write, record and gig process all over again. Yeah, they had some basic ideas worked up, but the motivation seemingly just wasn’t there anymore, and to hear someone as passionate about his music as Gagz admit that it was probably best to draw a line under things as they stood was a very sad day indeed.

Fast forward eight years then, and with the UK seemingly having gone to hell in a handcart and back again six hundred and sixty-six times over (and with possibly even more shit to follow), it’s feels positively cathartic to finally have the fourth No Choice album blasting out of my stereo, and ‘And Still Some Cannot See’ sounds every bit as pissed off as I’d hoped it would. Post Covid, it’s a ten-track record that whilst dealing with the UK Government’s more than obvious shortcomings also touches on such subject matters as addiction, narcissism, eugenics, racism, greed, and failure…. and that pretty much sets the tone for what to expect, the guys having toughened up the No Choice sound especially for 2023. Then when Gagz recently explained that this record is also a heartfelt tribute to his sadly departed and dear friend Mr Gared O’Donnell from Planes Mistaken For Stars the “go for the throat” approach suddenly makes even more sense.

Returning with Gagz for this much tougher, more abrasive sounding record are guitarist Mowgli and drummer Lewis, whilst picking up bass duties this time around is Kaney. Beginning the recording process at Stompbox Studios in Cardiff towards the back end of 2022 with producer (and Bastard Son guitarist) Todd Campbell, opener ‘Sold City’ catapults the listener straight into that moshpit in your mind, thanks to Mowgli’s ferocious six string riffing and Gagz trademark barbed wire vocals and clocking in at just 1 minute and forty-four seconds it pretty much sets out the blueprint for what is about to follow.

Highlights are plentiful within the grooves of ‘And Still Some Cannot See’ and amongst them are ‘Sites And Sounds’, a thundering tirade against toxic masculinity and a tune which whilst not having what you might call “a conventional chorus” still manages to get stuck in your head, and then there’s the hugely impressive ‘Icons’, a tune I first heard over a year ago at a low key support slot No Choice played at a local pub and instantly recognisable again here. Elsewhere ‘The Snakes Took Out Ladders’ is not only a great song title but also a punchy just shy of two minute anthem that would have been a prime candidate for a single back in the day, and then there’s the band’s very own ‘Lust For Life’ in album closer ‘More Fool The Man’.

I’m not going to guide you track by track through ‘And Still Some Cannot See’ though because it’s a record that deserves everyone discover it for themselves, it’s one of those punk rock records that operates on many different levels, with each one designed to make you scream your head off, and I have to say that in ‘Warrior’ the band may very well have written their best tune yet.

‘And Still Some Cannot See’ is available right now on pink vinyl and download from Weird Beard Records (simply follow the link below to get your hands on one) or alternatively you’ll find copies in Spillers Records Cardiff and Kriminal Records Newport and hopefully via Pig at this weekend’s Slugfest at Abertillery Park, and if all that fails you can also email Gagz at gagzrox1963@gmail.com for a copy or if you are interested in putting a live No Choice show on anytime soon this is also the best way of getting in touch with the guys.

It’s great to have No Choice back, it really is, they are an essential voice of conscience within the UK punk rock scene. Hear them roar and relish every second of it!

https://theweirdbeard.bigcartel.com/product/no-choice-and-still-some-cannot-see?

Author: Johnny Hayward

It’s been a while but it’s a great feeling to be back in the room with the extraordinary talent that is Chuck Prophet. A man who should need no introduction, a man who can make a Telecaster weep like a baby and sing like an angel a man who was a member of the best Americana Rock n Roll band Green On Red. A man who leads the Mission Express to steam through venues far and wide with consummate ease and make this Rock and Roll lark seem easy when we all know it’s not. But he has the gift and thankfully he keeps on giving.

Thanks to the Bristol traffic I missed the beginning of balladeer Kris Gruen (yes the son of the famous photographer) Some of the songs I did catch he played in this very same venue when supporting Jesse Malin a few years ago and you could have heard a pin drop when he closed his set with a near perfect rendition of the Johnny Thunders classic ‘Can’t Put Your Arms Around A Memmory’ and the applause he received were well deserved.

Onto the main event and the one and only Chuck Prophet and The Mission Express. A show I’ve been looking forward to for quite some time. Taking to the stage at 9 pm and delivering a two-hour set was an absolute joy and boy was Chuck on form delivering the banter between songs making people comfortable in the confines of the compact Fleece that was near capacity for this one during the school week it was a set mainly comprising of songs from the last couple of albums with some deep cuts being knocked out of the park by a slick band who oozed class and rocked up some of the more relaxed material on albums. ‘Bobby Fuller Died’, and the spine-tingling ‘High As Johnny Thunders’ were dispatched early doors with Prophet stalking the stage putting on a show as you’d expect.

It was a familiar set mainly lifted from ‘The Land Time Forgot’, ‘Bobby Fuller’ with the odd song from from ‘Temple Beautiful’ and beyond with some of the highlights being the superb ‘Jesus Was A Social Drinker’ and ‘In The Mausaleum’ to the more rockin’ ‘Best Shirt On’ and ‘Ford Econoline’ with some really amusing banter exchanged with the relaxed Bristol audience. For me the highlight of the set was a flawless take on ‘Nixonland’ and the awesome ‘Willie May Is Up At Bat’. It was an absolute joy to watch a performer like Prophet lay his fingers across his fretboard at such close quarters It was a performance of Americana Rock n Roll I didn’t want to end from one of the most underrated writers and players the West Coast ever gave the world and ably supported by an exceptional Mission Express and Stepanie Finch on Keyboards, vocals, and Cowbell.

As soon as the show was over and the band was being showered with the ovation they thoroughly deserved I was wondering when I can get the chance to see Prophet again and when he will make another studio album. One of the best just delivered one of the best shows I’ve seen in the venue for a long time and I saw The Hives and Jesse Malin there fairly recently Long Live Chuck Prophet and The Mission Express they play Rock and Roll.

Author: Dom Daley

Yes you read that headline right, I am a bit of a Depeche Mode fan, not so much really early doors but definitely Violator times onwards, and they’ve sat on my bucket list for a while the only issue they are so big they only ever do huge dates, such as this 80.000 crowd in leafy Richmond. Before going into the review I have to say infra-structure wide the set up for this was superb once we hit Richmond, with Buses laid on taking you right to the stadium and returning you back to Richmond every 5 mins.

The gig itself? Opening a Scottish band called Young Fathers, a new one on me and a band I’d not listened to before. And do you know what? They were pretty tasty looking back their first LP “Dead” won a mercury prize back in 2014, they’ve gone on to release 3 Albums since the latest “Heavy Heavy “coming out this year in 2023. They also provided tracks for the Danny Boyle directed Trainspotting 2 .

Live apart from the usual sound issues which miraculously dissipate when the headliners come on they were great coming on like a Drum and Bass heavy version of Massive Attack, vocalists constantly cutting and Changing, powerful intense and full of energy and definitely the sort of band you would hope to catch in a small club rather than on a huge festival stage (as an aside they are playing at the Green man Festival this year) definitely a band to check out.

On to the headliners and Depeche Mode really do know how to put on a show, they’ve been at such a high level of Arena headlining for such a long time,  and it really shows, audience interaction is minimal but unnecessary, and the setlist drawn down from no less than 10 different LP’s made sure that there was something from and for every generation of followers. What surprised me was the sheer intensity at times when the band locked in giving NIN a run for their money, while conversely tracks like “Its no good” and “Everything Counts” take you right back to those early club days, there were hints of Bowie, elements of New order but ultimately it was all Depeche Mode. In Dave Gashan you have one of the ultimate front men and in Martin Gore a more than equal foil driving the music forward.

Stand out tracks for me were a spine tingling version of “I feel you” (From songs of Faith and devotion), “My Favourite stranger”, “Stripped”, “John the Revelator”, “Enjoy the Silence” and a Question of lust, but truth be told they played for over two hours and it felt like 10 minutes, always a good sign of a great gig, I have to also give a special shout out to the version of “World in my eyes” dedicated to Andrew Fletcher and the audience response, both locked together in tribute.

Definitely ticked off a Father/Daughter bucket list event, and if you get chance definitely a band to catch in the live arena.

Author: Nev Brooks

To celebrate the band’s 30th anniversary, the folks at Damaged Goods Records are releasing a double CD/vinyl compilation of dayglo, D.I.Y bubblegum punks, Helen Love. 30 years? I can’t remember where I first heard them, possibly Mark and Lard on the late shift. It’s like they’ve always been here.

From ‘Yeah, Yeah, We’re Helen Love’ onwards, it’s a reassuring trawl through their back catalogue. No one wants a drum n bass/free jazz Helen Love album. It was no wonder that Joey Ramone invited them to New York, they share similar DNA; instantly memorable tunes for sunny days, or when you need to pretend that the sun is shining. Most of them fly past in under three minutes, always guaranteed to raise a smile. Whether it’s ‘Beat Him Up’ or ‘King Of Kung Fu’, they put their Casio keyboard and Woolworths guitar to good use. Their hand made, primary colour record sleeves were designed by necessity, but perfectly suited the tunes.

‘So In Love With You’ would sit nicely in John Shuttleworth’s set, a real compliment in my book! Oof!

They even had the nerve to nick the title ‘Leader Of The Pack’ for one of their songs. ‘So Hot’ should be the theme to your summer holiday. This is ear worms a-go-go. There’s ‘Joey Ramoney’, of course, the perfect fan response song. I can even forgive their cut-up of ‘Wig Wam Bam’, and Joey himself appears on ‘Punk Boy’, a joyous duet.

As it’s looking like we’ll have a ‘Golden Summer’, this is the place to acquaint yourself with Helen Love. Over 30 songs. Tune into their own ‘Summer Pop Radio’, break out the ice pops and stop being so serious. Let’s go!

Buy Here

Author: Martin Chamarette

Death By Unga Bunga are back! They continue to explore the role of the modern man with all his struggles and insecurities. Enjoy this new banger. Get it: https://orcd.co/dbubcamo

Next up is a cut from the forthcoming Better Noise record from The Pink Spiders with their cheap trick meets Weezer track ‘Devotion’ lifted from ‘Freakazoid’ pre orders Here

Short, fast, loud, ZEKE!  Seattle punk legends Zeke recently returned with a new single “Ride Hard Ride Free” featuring ZEKE’s signature mix of turbo-charged thrash-punk and Motörhead possessed rock n’ roll and provides the first taste of ZEKE’s new album, which will be released later this year via Hound Gawd! Records. In 2022, ZEKE was unexpectedly reborn with founding members Blind Marky Felchtone (vox/guitar) and Donny Paycheck (drums) returning to the drum kit. They went into the studio with Jason Freeman (bass) and Jeff Hiatt (guitar), they were with ZEKE before and got back in, to record a new album. The first single “Ride Hard Ride Free” is everything you’ve come to expect – or want to hear from ZEKE. A full-on thrasher celebrating speed in more ways than one, “Ride Hard Ride Free” has a very sharp style, with the band takes cues from old Motörhead riffs, then fusing it with hardcore punk roughage. A modern ZEKE classic. They tie in here stylistically with “Death Alley”. Produced by Jeff McNulty (Screamers, Blöödhag, Hell Bent For Letters) at Soundhouse in Seattle, WA, and mastered by Joe Bozzi at Bernie Grundmann in Los Angeles. The tracks are not available on Spotify, Apple Music and other digital platforms. ZEKE recently completed a successful West Coast tour.

The band return to Europe for the following dates with The Hip Priests supporting at all UK dates.

Dates: 2023

Jun 20 – UK – Bristol Exchange (with The Hip Priests)

Jun 21 – UK – Huddersfield Parish (with The Hip Priests)

Jun 22 – UK – London New Cross Inn (with The Hip Priests)

Jun 23 – NL – Groningen Vera Groningen

Jun 24 – NL – Utrecht dB’s

Jun 25 – DE – Köln Sonic Ballroom Köln

Jun 27 – DE -Regensburg Kulturzentrum Alte Mälzerei

Jun 28 – DE – Stuttgart Goldmark’s

Jun 29 – DE – Neunkirchen Stummsche Reithalle

Jun 30 – NL – Eindhoven Effenaar

Jul 01 – NL – Deventer Burgerweeshuis

Jul 02 – NL – Emmen Pitfest

Jul 03 – DE – Düsseldorf Pitcher – Rock’n’Roll Headquarter Düsseldorf

Jul 04 – DE – Hamburg Knust Hamburg

Jul 05 – DE – Berlin RESET – Live Club Berlin Kreuzberg

Jul 06 – DE – Dortmund Hafenschänke subrosa

Jul 07 – DE – Kassel Goldgrube Kassel

Jul 08 – BE – Gierle SJOCK Festival

Jul 10 – DE – München Backstage

Jul 11 – IT – Bologna Freakout Club

Jul 12 – IT – Torino BLAH BLAH

Jul 14 – ES – Barcelona Sala Upload

Jul 15 – ES – Madrid Gruta 77

Current Line Up: Blind Marky Felchtone – Guitar and Vocals, Donny Paycheck – Drums, Jason Freeman – Bass, Jeff Hiatt – Guitar and Vocals.

Online: zekeyou.comfacebook.com/zekeband / instagram @zekeband

The first single from ‘The British Sessions’ which entered the iTunes country chart at number 2.

With his roots in Aberdeen, Washington, Leroy Virgil adopted Reno, Nevada as his home and the base for Hellbound Glory back in the early 2000’s. The americana/roots rock artist cites his influences as Hank Williams, Nirvana and Hank Williams Jr, and his songs are influenced by the Reno nightlife, the women he has met and the fights he has gotten into.

A new direction sees Leroy and his faithful sidekick Chuck Bradley venture across the pond to bring Scumbag Country to where some of its roots were firmly planted in English and Irish folk music. Travelling around London, playing a few shows and then basing themselves in the North of the country, in the historic city of York, the duo got to work with UK music producers Paul Gorry and George Shilling to incorporate British and Irish folk instruments into their own brand of outlaw country, following in the footsteps of the likes of Simon & Garfunkel and Bob Dylan to change their sound.

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