Let’s not fuck about here – Dutch punk n rollers Batwölf are slipping into their shit kickers and kicking some shit! From the opening assault of ‘Nicotene’ the gloves are off and a well-ballanced punk n roll riff is unleashed. ‘Over Your Shoulder’ is thunderous and has a decent hook on the chorus and a nice touch to expand the beatdown with that barroom piano.
Sixteen tracks between one and three minutes long most around two plus minutes is more than enough time even for the audio challenged of rockers to engage with. ‘Crazy Driver’ is brutal ‘Dictator’ channels the ghost and spirit of Lemmy whilst the title track just Rocks the fuck out. The fact they’re involved with TNS and recently played the Manchester Punk Festival means these guys should be taken seriously and you need to take notice of them right here right now this shit is serious!
If you think there’s going to be any lite relief then strap in mofos this rides heading south like a flaming hellbound handcart ‘Dirt Track HEart Attack’ is like a boot to the throad and before you can catch your breath ‘The Float’ is already upon you handclapping like a cavalier Jagger in sequins and bullet belts. The avalanche of Riffs keeps on coming and the oldie rocker of ‘Gypsie Blood’ is the chaser for the frantic dash of ‘Moth, Flame, Fire’.
Take it easy in manageable chunks in this summer heat kids this should come with a health warning it’s seriously dangerous and I like it a lot. They’re not reinventing the wheel here but they clearly love loud, m fast rock n roll and that’ll do for me when it’s done this well.
Its a lot of songs to get to grips with but the journey is worth it, just stay away from flames and flammable material, ‘Punchbag’ is a flurry of fists before they sign off or spontaneously combust with the anthemic glug of ‘Dead Horse’. Tap me out I’m done, nurse bring me oxygen this Rock n Roll is killing me but I do love it! Now let’s go start some fires, drink beer and buy more loud, fast records like this – Buy it!
Alex Hagen is the singer/songwriter and one of the guitar players in Baltimore Punk ‘n’ Roll band Ravagers who just managed an impressive romp across some of Europe showcasing their latest record ‘Badlands‘. We tracked down the frontman and threw a bunch of questions in his direction because we love Ravagers and everything they stand for. It’s Rock N Roll baby and these guys live it and breathe it and we want to help spread the word because the world needs Punk ‘n’ Rollers like Alex and his bandmates. So settle down and check out what went down when RPM Online caught up with Alex Hagen…
Give us a bit of a background to Ravagers. When did you put the band together? I notice only you and Ray survived the band from the first record to the current ‘album and tour.
Ravagers began in 2013 when me and Ray dropped out of high school to dabble in illegal activities and start our own street gang in Baltimore. All the corners were taken in our neighborhood so we started playing rock music to get rich. We’ve been through a couple members since then. Some ended up biting the bullet and others realized the harsh reality that is the long way to the top if you wanna rock and roll.
When did you first pick up a guitar? Did you always want to be a frontman handling vocals and playing an instrument? I played my first power chord in middle school on a neighbor’s busted practice amp and thought it sounded SICK but I ended up joining my first band on bass till I was confident enough with a guitar to write my own songs. That band ended up falling apart and I had started writing some songs on an old brown melody maker style guitar Matt Gabs set up for me. I got a corporate job for a short while to save up for a Marshall JMP and some celestion greenback speakers that I put into an old ampeg 4/12 cab and I still use it to this day.
When Gabbs joined he’d done the production on previous recordings was it the case of right time right place? I moved into Matt Gabs house around 2011 and when I was working on music I’d show him my ideas. We’ve always collaborated and bounced ideas off each other. When we would record I’d make him come in the studio to listen in and make sure everything was sounding good. He joined the band in 2018 when our guitar player at the time left.
The recent run through Europe you had Sam fill in on Bass is that a permanent thing now? Personally I think the pair of Gabs and Sam are perfect for the band both sound and look. Sam is working out great. He has a cool look on stage and loves the same music that inspires the band. On top of that he’s always down to play and go on tour. As long as he keeps it up he’s in!
You recently did an impressive shift around mainland Europe but missed out the UK are there any plans to visit shit island for maybe a couple of shows next time? I travelled to Barca for the show and thought the performance was excellent but the venue not so. How was the tour? This was our first time in Europe and it was hard enough to get the shows booked that we had working with two different booking agents. We had a great tour manager Gwinny, who on top of driving and selling merch actually booked some of the shows for us before the tour started. The tour seemed to be a gamble and we wanted to at least make the money to pay for our plane tickets back. We heard the UK taxed merch, required visas, and the shows wouldn’t give us places to stay so we opted out of it this time. The tour was a success so we are hoping to go back soon and do some UK dates next time.
Touring Europe was it what you expected? What were some of the highlights? We didn’t know what to expect. Gabs had been over a few times with Biters and Sonny Vincent so he knew but as for us I was shocked at how well the shows were attended and how well the venues and promoters treated us. Some of the gigs we were the only band and people expected us to play an hour every night so we gave it our all. I think it pushed us to grow as a band. Some of the highlights was a sold out show in Dresden, I had cut my finger that morning on a razor blade and when we played that night blood was gushing everywhere! With 28 shows our 2 days off were certainly highlights. Visiting the H.R. Giger museum in Gruyere Switzerland and having a relaxing day in Barcelona was awesome.
Going back to the recent album ‘Badlands’ how did you come to hook up with Wanda in Germany and Spaghetty Town Records two great fits for the band. We have been with Spaghetty Town since the 2018 Drowning in Blood single. They are based in Atlanta where we’ve played a lot and our great friends of ours. They partnered with Wanda on the new release so we would have European and US distribution. Q8. When coming to record a record with you being the main songwriter is it easier now there are other players in the band who also write will it evolve the sound of the band at all? We’ve always collaborated as a band. For the most part I’m the one who brings a song to the table. For example. Here’s the name of this song, Here’s the melody and hook I have in mind. Then we all play it and it grows from there. Things almost always change last minute in the studio when you hear everything over the monitors. We had a great producer (Tuk Smith) who also pushed us to take the songs to the next level. He helped a lot stepping in as a 5th band member and not letting anyone slack on their performance. I think we will do the next record with him as well.
You played some pretty cool covers on the tour from the UK Subs to the Lords of the new church what was it about those songs that made them fit into your set and what others would you love to play? Those songs are bangers and I feel like I have a deep connection with them ya know? They are dark and have powerful hooks with great lyrics. I’m not sure what we will cover next. Maybe something nobody knows so we can say it’s ours.
What are your plans for moving forward and the next album? Will this line up get recording soon and have you many songs already written? So far the plan is to keep coming up with new songs. We have lots but we only record the ones we think are worth it. We will see what makes it on the next record. I would like to get in the studio asap.
You hail from Baltimore is it a good place to hang out in a rock n roll band and is there much of a scene for you to feed off? Lots of great inspiration in Baltimore. I saw a guy last week try to rob my local grocery store with a machete and got chased out buy security with their guns out. I wouldn’t say there is much Rock N Roll these days, mostly hardcore and stoner metal, but there are some great bands. Total Maniac is my favorite Baltimore band and we like playing shows with them. Matt and our new bass player Sam live in NYC so we are going up there to play a lot now. We like playing with Mala Vista, The Trash Bags, Wyldlife, and Tuxedo Cats.
The two EPs you released is there any plan to press them onto one compilation album maybe? Do you have a favourite track you like to play live? I like those two EP’s as separate records. I don’t feel the need to consolidate them onto one vinyl. I like that they are pressed at 45 RPM because they sound better. I also like the art on each of the covers. The first record “Livin in Oblivion” is getting repressed and will be out this summer on Spaghetti town. It’s been remixed and mastered and sounds great.
Good luck to Ravagers for the future and hopefully I can catch you again on the road in Europe or the UK who knows and I look forward to your next record release. Keep on Keeping on. .
After thousands upon thousands of gigs and easily a million miles traveled, iconic Rock and Roll Hall of Fame® Inductee Alice Cooper revs up as loudly as ever on his new solo album ‘Road’.
‘I’m Alice’, the opener and first single from Alice Cooper’s new studio album, sets the tone for the album with its driving drumbeat as guitars wail in the distance. Alice’s instantly recognizable rasp takes hold, “I know you’re looking for a real good time.
Produced by longtime collaborator Bob Ezrin, the album is written, composed and recorded with his current touring band. Bringing everything full circle, it channels the spirit of old school Alice with instantly recognizable grit and plenty of gusto. It’s everything you’d hope for from him and more. And this time his trusted longtime bandmates— Ryan Roxie [guitar], Chuck Garric [bass], Tommy Henrikson [guitar], Glen Sobel [drums], and Nita Strauss [guitar]—are riding shotgun.
Complementing the album’s theme, the bonus DVD/Blu-ray comes with Alice Cooper’s 2022 full live show at Hellfest 2022 and includes all the classics and rarely played gems. Follow the latest news on ALICE COOPER and ‘Road’ –
What in the name of Joey DeMaio’s bonk eye has been going on in UK this past couple of weeks whilst I’ve been off giving my xenomorph cranium some much needed sunshine?
I arrive back over the weekend to find the country baking in Caribbean style temperatures, Man City winners of the treble, the Tory party (once again) openly imploding and Buckcherry in the Top 20 official UK album chart.
Wow!
Thankfully (for me) the latter wasn’t that much of a surprise as having the band’s tenth studio record pretty much on constant loop during my sabbatical I’d have been disappointed if it hadn’t been an instant success with the fans, as (for yours truly) ‘Vol.10’ really is the sound of Buckcherry at the top of their game once again.
Okay, I’m a bit of an old school Buckcherry fanboy, loving both their ‘Self-titled’ debut from 1999 and (still my favourite album by them) 2001’s ‘Time Bomb’, and as such have travelled far and wide to see the band live, but I must admit that ever since the ‘Rock N Roll’ album kind of “appeared” in my CD collection back in 2015, I haven’t really been that enthused by what the band have come up with. Until now!
I think it’s safe to say that when Jetboy/American Heartbreak guitarist Billy Rowe joined the Buckcherry ranks frontman Josh Todd was looking to restore the song writing balance in favour of the liquor and poker bar band tunes that they had always excelled in writing, and 2021’s ‘Hellbound’ (the band’s first record for Earache Records in Europe) was a major step back in the right direction for the band following the decent if rather disappointing ‘Warpaint’ album, a record you must remember that had been preceded by Todd and guitarist Stevie D venturing off into the world of rock/rap crossover via their Spraygun War project.
“So, what’s so great about ‘Vol. 10’? I hear you cry.
Well, this eleven tracker picks up pretty much where ‘Hellbound’ left off, with Marti Frederiksen reuniting with the band as producer, and the band line up of Todd, D, Rowe along with drummer Francis Ruiz and bassist Kelly LeMieux all seemingly gelling well together for their second album.
With Frederiksen at the helm the Aerosmith influence is never going to be too far away and here it’s evident from the get-go via opener ‘This And That’, a track that swaggers along with all the sartorial elegance of the late 80s version of the Toxic Twins. This is BIG, balls-out, rock music baby!
The album’s lead video/single ‘Good Time’ which is up next is the type of ‘Next 2 You’ rocker Buckcherry have become synonymous for writing, it’s perfect music to be played in your car with the top down enjoying the current heatwave, or if like me you like to walk everywhere, it’s a tune that’ll see you reach your destination a good three minutes quicker than you did last time.
Likewise, ‘Keep On Fighting’ is knockout stuff, a tune that actually harks back to the sonic fury of the ‘Time Bomb’ album, and if you like your music to come with a bite, this one is designed to take chunks out of your earlobes. Be careful with those anc headphones folks.
Elsewhere ‘Turn It On’ returns to the sassy swing of the record’s opener, and is that a hint of classic Guns N’ Roses I detect on the song’s mid-section? I’ll let you make your mind on that one, because up next we have ‘Feels Like Love’ a tune that whilst being 100% Buckcherry also has me thinking of Def Leppard, Whitesnake, Ozzy Osbourne (or should that be FM/Wildlife) and John Waite. Yes, it’s a love song, but it’s also possibly one of the best the band have ever written.
The thumping ‘One & Only’, and perhaps my favourite track on the album, ‘Shine Your Light’ make the mid-section of ‘Vol. 10 fly-by, and just when you think you have time for a breather (because Buckcherry always put a ballad in around this point in a record, don’t they) up pops ‘Let’s Get Wild’ a party anthem ready made for 2023.
I seem to recall that there was a point during ‘Hellbound’ where I detected a hint of ‘80s Scorpions creeping into the song writing, and here on ‘With You’ I do feel like I wasn’t going completely mad after all. Go on, give the video a spin above and tell me otherwise.
After all these rockers there was always going to be a big piano lead ballad and this comes in the form of ‘Pain’, here Todd turns in a fantastically warm sounding performance using his lower vocal register to maximum effect before the band complete with orchestration take the tune off into the enormodome stratosphere.
Which just leaves the much talked about cover of Brian Adams’ ‘Summer Of 69’ to round off ‘Vol. 10’. Me, I don’t mind it, but never mind how many times I hear this song I can never get over how much Waysted were influenced by (as in ripped it off) for their 1985 single ‘Heaven Tonight’, but that is indeed a story for another day.
‘Vol. 10’ then, is a record chock full of feelgood anthems and alongside Sister Morphine’s long overdue debut they are easily my favourite sleazy rock ‘n’ roll albums of the year so far.
DUFF MCKAGAN UNVEILS LIGHTHOUSE ROCK & ROLL HALL OF FAMER ANNOUNCES THIRD SOLO ALBUM TITLE TRACK PREMIERES TODAY – LISTEN LIGHTHOUSE ARRIVES EVERYWHERE ON FRIDAY, OCTOBER 20 PRE-ORDERS AVAILABLE NOW; INCLUDING VARIOUS DELUXE CD & LP PACKAGES
Photo Credit: Charles Peterson
Duff McKagan has shared the song LIGHTHOUSE, the title track from his third solo album, LIGHTHOUSE, arriving everywhere on Friday, October 20. Pre-orders are available now. The album will be available in several variations, including CD, deluxe CD with fold-out photo print, cassette, standard black vinyl, and deluxe vinyl in a host of colors, each with lithographs, booklet, sticker, and guitar pick. Signed versions and exclusive store versions will be available as well. For more information, please visit: duffonline.com.
“The crashing….the cresting waves, the falling through of all that surrounds you. Life sometimes tosses us around, and we feel the want of comfort and the pull of home. A ship tossed like a toy through the Cape, sails ripped and the wood groaning with the scraping of its ballast….a soul trying with all its might to find peace and a center. Find a lighthouse. I have my lighthouse….its beacon swirling in the darkness with her warmth and promise of nurture, love, laughter, and all that is true. Won’t you be my lighthouse, give me light,…and bring me home.” – Duff
For more than 40 years, Duff McKagan has been an unstoppable creative force, spanning a multitude of bands, tours, collaborations, and writings. Now, with his long awaited new solo album, LIGHTHOUSE, the veteran musician proves to be, at his heart, a gifted singer-songwriter with a distinctive knack for authenticity and introspection.
In 2019, McKagan opened his own recording studio, allowing him a long hoped-for opportunity to “finally explore songs that I may have written the night before or some of those old riffs from years ago. This is a big deal for me.” He spent much of the next two years working with longtime producer/collaborator Martin Feveyear (Mark Lanegan, Brandi Carlile), chipping away at a series of intensely personal new songs.
LIGHTHOUSE now marks the first full length collection born in McKagan’s studio. Songs like HOPE (featuring veteran Paul McCartney drummer Abe Laboriel Jr and melodic lead guitar from Slash) and the philosophical I JUST DON’T KNOW (featuring contributions from McKagan’s longtime friend, Jerry Cantrell of Alice in Chains) see McKagan baring more of his artistic spirit than ever before, fusing acoustic elements with hard-edged rock ‘n’ roll to land at the sweet spot between soul-searching reflection and pure energy. The 11-song collection is further highlighted by an additional take on the title track, LIGHTHOUSE (REPRISE), joined by the one and only Iggy Pop.
McKagan first unveiled his new music earlier this year with THIS IS THE SONG, a three-song EP honoring Mental Health Awareness Month alongside a call to action on Propeller. The EP – which was met by critical applause in Rolling Stone, Consequence of Sound, Loudwire, and American Songwriter, to name just a few – includes the deeply moving title track, THIS IS THE SONG, joined by an official companion video streaming now on YouTube.
Try these brand new bangers for size. Whilst the UK is enjoying some sizzling sunshine we’re sat indoors searching new tunes for you lovely lot. first up is this ripper from down under as Clowns prepare for the release of their new album ‘Formalydahide’ turns up the heat. Clowns Facebook
Next out of the traps is ‘Nuage Fractal’ From the forthcoming VOIVOD “Morgöth Tales” 40th Anniversary album, out July 21st, 2023. Pre order Here
We all know the story by now of how this record came to life whilst the main protagonist and only original member Mike Peters was in Hospital fighting pneumonia after a breakdown in his medication against his long-term leukaemia battle. Armed with a ward of Doctors a guitar and a headful of ideas as well as some PMA, Peters wasn’t sure his voice would hold up so set about recording the latest Alarm record as a way of fighting the good fight and probably for his own sanity and way of dealing with his latest battle.
‘Forwards’ begins with the Title track and on first impression, it’s a fairly standard Alarm sounding song. Nothing wrong with settling into a record and easing in on familiar ground (call it safe, unsure or just setting out one’s stall). It’s ‘The Returning’ that dials up the Rock with another big chorded song, with plenty of digital tweaks and buzz flyovers adding texture to the song. The lyrics grab your attention where Peters, staring into the abyss of his predicament needs to let it out to exercise the demon in the room. and for such a positive man, maybe, negative thoughts have infiltrated. Feelings that he’s reached the end of the road and a terrifying reality winds up in his lyrics. Chilling and a moment where I’m stopped in my tracks, however, I’m still waiting for this record to really grab me musically. sure the backstory is nuts and most mortals wouldn’t even contemplate picking up a guitar.
I love that Mike Peters still writes and releases new music and through a chequered career he’s had very high highs, from the humble beginnings of the originallineupp through an upward trajectory they amassed a hardcore following that was steadfast through some savage attacks in the press butgalvanizedd them somewhat until that night in Brixton. Then a solo output that released records like ‘Breathe’ and ‘Rise’whicht were exceptional records along with the incredibly creative poppy fields project he’s kept me coming back for more through decades and projects like Coloursound and Jack Tars or Dead Men Walking Every time you think thats it he’s come back with something special.
By the time I’ve reached ‘Love And Forgiveness’ with a gentler song with hushed vocals, Peters has hit paydirt. Without a recognised bass player in the lineup or should that be a traditional lineup of Bass, Drum, Guitar, and vocal its definitely a talking point, however, whoever is playing the bass lines throughout the track should pat themselves on the back it’s a real draw and pulls you in on an excellent song and one of the records real high points.
Side one closes with the rockin’ ‘Next’ and again with some exceptional solos and fills it’s a smooth uptempo song that is really good. I like the attack and the production from George Williams it’s just the right side of “Big production” and has enough dirt under its fingernails to appeal to the cool kids it’s a winning formula that Peters should do more of, no doubt about it.
Side two opens with the rush of ‘Whatever’ a great up-tempo electric meets acoustic intro that breaks down that’s anthemic but steering far enough away from being lush and delving into cliché territory with lyrics that can be interpreted to light at the end of the tunnel of the dreadful time this record began its life in. It is alright as Peters leads the gang vocals and whatever gets you through is always good.
New technology meets old as ‘Transition has its throbbing technology layered beneath the Baritone guitar as it licks around the throb whilst the layers of electric guitars fall like an avalanche into the chorus before the solo but its Peters vocals that hit front and center and any fear he might have had whilst in his Hospital cell are put to bed with an exceptional sounding delivery.
‘Love Disappearing’ is the most sounding Alarm song on offer with its ‘Strength’ like intro but when it gets going its got an aggressive edge that’s good to hear sure it’s polished and big but it’s like its been given all the knobs and whistle treatment but then been wiped with sandpaper to give it grit and edge and that works and the frailties of Peters limits on his vocals works well and the harmonica honk is well placed.
‘New Standards’ is possibly the most Alarm sounding song of the lot and will play to the gallery and that’s fine. I hope it’ll grow on me like a lot of this record which to my ears is a whole step up from the last few that were ok but didn’t enthuse me apart from the odd track. This is far better on first impressions and even though I’ve only had a few plays but my first impression is, it’s got a lot of excellent songs and avoids cliches that people like to hammer Peters for. I look forward to hearing some of these songs live and giving them the live test but ‘Forwards’ is a record that does have some instant appeal but I hope it’s got depth that will keep me coming back for more.
The record finishes with ‘X’ as the band wrestles to tame a beast that twists and turns and meanders through its verses with layered vocals and a scuffing riff. Some excellent sounding and prominent drum fills that work well through some very wordy verses its a top tune to close off the record. Peters empties what’s in his head and does it well as he puts a life into some sort of perspective reaching clarity as the song unfolds. I love the use of harmonica and where the verse breaks with the chaotic loops and keys layer add something different and then we go back in and rise again. an exceptional song to close off a thoroughly enjoyable album.
I kept an open mind about ‘Forwards’ as I didn’t want to reach unrealistic highs for one of my favourite recording artists and I think my strategy has paid off. I can reap the rewards of a really impressive album. I haven’t enjoyed an Alarm album this much since ‘Under Attack’ and I know its early doors. I hope that this album grows and gets better with every play and I still feel the love in months to come as the earworms burrow down and take hold. Buy it!
Friend of the site and all round incredible artist Jesse Malin has opened up about his recent health isseues and why he cancelled his UK and Europe tour and he needs our help.
Just a few weeks after his triumphant Webster Hall gig, a 20th anniversary celebration of his solo debut ‘The Fine Art of Self Destruction’, Malin suffered a rare spinal-cord stroke — a stroke in his back — while at dinner in the East Village. Gathered with friends to mark the anniversary of the death of Howie Pyro, Malin’s former D Generation bandmate and best friend, he felt a burning pain in his lumbar region that slowly moved down his hips, through his thighs, and into his heels. He collapsed onto the floor of the restaurant, unable to walk.
“Everybody was standing above me like in Rosemary’s Baby, saying all these different things and I was there not knowing what was going on with my body,” Malin says during a phone call from his room at an NYU rehab facility.
Immobilized and numb, Malin was carried by Murphy’s Law singer Jimmy G from the Italian restaurant into the hallway of a nearby apartment, where an ambulance was called to take him uptown to Mount Sinai Hospital. That was May 4, and the notoriously physical, high-energy performer — his first public stage dive was at 14 on national TV during a Saturday Night Live performance by Fear — has been paralyzed from the waist down since.
Jesse told Rolling Stone that it was the hardest six weeks of his life, “I’m told that they don’t really understand it, and they’re not sure of the chances. The reports from the doctors have been tough and there’s moments in the day where you want to cry, and where you’re scared. But I keep saying to myself that I can make this happen. I can recover my body.”
Malin’s manager David Bason and some of his friends have launched the Jesse Malin Fund on Sweet Relief to raise money for his care and expenses, which include daily physical therapy, outpatient rehab once he’s discharged from an NYU rehab center later this month, and relocating from his current walk-up apartment to one with an elevator to accommodate his wheelchair.
Anyone who knows Jesse will tell you he is always the one who gives, the one always there for those in need, as evidenced by his work with various charity efforts. Among them: Sweet Relief, MusiCares, Light of Day Foundation, Joe Strummer Foundation, Save Our Stages, Joey Ramone Foundation for Lymphoma Research, Joey’s Song, Black Lives Matter, Howl Helps, Positive Panther Benefit (Natalie Beaverstock/fan for a wheelchair), Rock The Night Foundation, Rock Against Racism, Jail Guitar Doors, The Bowery Mission, Road 2 Recovery Foundation, Little Kids Rock Foundation, and food banks around New York City.
Confession time. The nearest I’d ever come to listening to renowned Grammy-nominated Southern rock jam band Gov’t Mule was when I just happened upon their Rolling Stones live tribute record ‘Stoned Side Of The Mule Vol.1 &2’ a few years back. The most impressive thing about that record for me was the band didn’t just perform the usual big hitters, instead they chose to play deeper cuts like ‘Monkey Man’ and ‘Ventilator Blues’ and the band’s performance was truly exceptional.
So, what am I doing here sharing my views on the band’s all new twelfth studio record ‘Peace… Like A River’, and not someone else at RPM towers perhaps more au fait with their work? Well, the simple answer to this is when I first came across the lead track/video for the record, ‘Dreaming Out Loud’, I was literally floored by it, and I just had to hear more.
I’m getting ahead of myself here though, as if like me you’ve never really heard of Gov’t Mule then you’re going to need some backstory to provide some context.
Initially formed almost three decades ago as a power trio side project by then Allman Brothers/ex-Dickey Betts’ guitarist Warran Haynes, who also handles lead vocals, along with fellow Dickey Bett’s band cohort Matt Abts on drums (the original line up being completed by bassist Allen Woody), the version of the band that has recorded ‘Peace… Like A River’ sees the original duo once again joined by Danny Louis on keyboards, guitar, and backing vocals, along with Jorgen Carlsson on bass guitar.
Trying to pigeonhole (as most people like to do) exactly what the Mule sound like though is not exactly as easy as listing the ingredients that go into making up their rather unique musical offerings. Haynes himself has stated that the record is a showcase of “the golden era of rock, soul, jazz and blues,” and he’s pretty much spot on with that statement.
Losing myself within the many twists and turns contained with the album’s dozen tracks, it conjures up a crystal-clear image of the band entrenched in studio with producer John Paterno (who I seem to recall working on Elvis Costello’s excellent ‘Brutal Youth’ album) shaping what strikes me as a record that really does sound completely “out of time”. For a perfect example of this simply give the aforementioned ‘Dreaming Out Loud’ featuring the stellar vocal talents of Ivan Neville and Ruthie Foster a listen.
At this point I should perhaps point out that this track alongside the ‘Head Full Of Thunder’ (where Hayes does in fact remind me of one Danny Bowes vocally) are the only tracks here that last under five minutes in length. So, alongside the band’s more concise songcraft there are also ten shining examples of the band’s trademark instrumental journeys, where they call upon such luminaries as Billy Gibbons on the boogie-tastic ‘Shake Our Way Out’ and Billy Bob Thornton on the expansive latter-day Zeppelin-esque ragga jam of ‘The River Only Flows One Way’ to help provide some additional punch to proceedings. The songs may be longer than pop convention but it’s only during the uncompromising mantra of ‘Peace I Need’ that I ever feel that perhaps the co-producers maybe should have reached for the faders a minute or so earlier.
Rather ironically ‘Your Only Friend’ the album’s major foray into the Mule’s Floydian influences (they also tour a Dark Side of the Mule show where they play the classic Pink Floyd album in full) could perhaps have benefitted from a few extra minutes as here Haynes guitar playing whilst understated is quite breath-taking, and I’d like to have heard more.
During the Hammond driven intro to ‘After The Storm’ there’s a point where Abts’ ride cymbal cuts through the mix crystal clear and at that particular point it struck me that this really is the sound of a band living and breathing their music, and I’m willing to put my mortgage on the fact that these guys would view the term “plugin” as some kind of musical profanity (okay I cheated and watched the “in the studio” video below before writing this), and given the sterile sound of many rock records released these days’. ‘Peace… Like A River’ really is the real deal, and it’s a record I have frequently had on repeat since it first dropped on my desk a few weeks ago.
You can share in the magic of ‘Peace… Like A River’ when it hits your local record shop.
Returning this summer over four days from the 3rd to 6th of August at the Winter Gardens in Blackpool, Rebellion Festival, respected the world over for bringing together the best new and iconic punk and alternative bands annually, it’s now that exciting time to start planning and working out what bands you want to see as all stages and band times have been announced.
Who gets ten minutes before you dash off to another venue or celebrate that you can see everyone you want or kick off that there’s a clash of your favourite bands. It’s the nature of the beast folks!
In the coming weeks there will be spreadsheets, clashfinders and other kind people posting their ways of displaying and seeing the many bands.
This year’s headliners include a Henry Rollins spoken word set, The Damned, New Model Army and Steel Pulse for what is one of the best and most eclectic Rebellion Festival line-ups so far. Other highlights include Descendents, Big Country, The Exploited, Neville Staple from The Specials, Die Toten Hosen, The Only Ones, The Dickies and many more.
These join a host of vibrant new talent as Rebellion Festival continues to champion exciting and fresh music including Bob Vylan, Lambrini Girls, I, Doris, Mille Manders & The Shutup, Bar Stool Preachers,Pizza Tramp, Yur Mum and many more.
Since its original inception in 1996 as the then named Holidays In The Sun festival, Rebellion has always aimed to bring together the best punk and alternative music from across the globe, and is still a family-run, family-orientated event that celebrates punk in all its forms. 2023 is without doubt, one of the strongest line-ups yet.
Rebellion Festival is an ALL AGES, family friendly event and children under 12 are admitted free of charge (accompanied by an adult). More information and tickets are available at:
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