After releasing the debut album at the beginning of the pandemic and with the squeeze on pressing plants That excellent debut took forever to reach my grubby hands which was a real shame and probably a massive ball ache for Helvete’s Kitchen and The Dirts it was probably the album that I had on pre-order that took the longest to get out so when I had notice that there was a follow-up but it was only digital I was pleased they hadn’t been put off by the experience and another bunch of lo-fi fuzzed up sleazy punk n roll was heading to my speakers and sure enough ‘2’ was here.
I can’t remember how I even stumbled across the band which I’m pretty sure is a one-man band from Sweden but I do know they make a beautiful noise and the (At times) almost inaudible fuzz of the first record is still evident on the follow-up but there is a clearer production (if production is the right word) it’s certainly got attitude and the fuzzed up guitars still sound magnificent. The album charges through your speakers in the shape of ‘Waste Of Time’ – all howling fuzz and distorted melodies form the vocals but it has a tonne of charm and boundless energy. Of the nine tracks that all pretty much hover around the two-minute mark, it’s impossible to get bored the record only clocks in at about sixteen minutes long anyway. Punk as fuck!
Buried underneath the avalanche of frantic guitars there are some cool melodies ‘They’re Talking’ is a real thrash and bang but the MC5 fuzz of ‘Don’t Think About It’ is a banger. ‘Mental Problem’ is a real highlight with its rapid nasty garage rhythm and the howling guitar licks reach a pinnacle.
‘Go To Hell’ has a dramatic opening tempo like early Sabbath mixed with some Alice Cooper and then when the drums kick in it’s as punk as you like. ‘End Of The Day’ is a real Rock and Rolla shaking its ass and getting its groove on it’s a great tune – simple as you like with the vocals fighting to be heard with that boogie Woogie guitar. The final few songs are like prog length in comparison all clocking in over two minutes, honestly. We end on a high with ‘All By Myself’ I’ll say the same conclusion as I did after the last album if this was polished and released with fanfare it would be a big winner but thats the loss of the mainstream because with The Dirts dirt its destined to stay in the underground and those of us lucky enough to have them stumble into our collections will be delighted with this second album.
Do yourselves a favour and invest in some of The Dirts music – you absolutely wont regret it. No time for filler this is all killer.
Ronnie James Dio joined Black Sabbath in 1979, and two classic albums followed. ‘Heaven And Hell’ and ‘Mob Rules’ both get a rebirth this month via BMG in deluxe boxset formats cD & Vinyl. Both albums have been newly remastered, and the set includes rare and unreleased music in certain regions. RJD replaced Ozzy in 1979 and quickly released ‘Heaven & Hell’. Sabbath returned to the studio in 1981 to record ‘Mob Rules’, with Ward replaced by Vinny Appice. Mob Rules was released in October of that year. The deluxe edition features additional tracks from Live At Hammersmith Odeon and an entire concert recorded in 1982 in Portland, OR. on the CD version with highlights making onto the Vinyl press.
Filling Ozzys shoes was a job that required a larger than life vocalist with his own personality and presence and in Dio they had certainly found their man who ticked all the boxes. It wasn’t the job for a shrinking violet or someone who didn’t have the credentials it wasn’t for the faint-hearted and RJD quickly grabbed the bull by the horns.
‘Heaven & Hell’ got under way in sprectacular fashion with a new sound unlike the old and as soon as the epic ‘Neon Knights’ opened up with its titanic riff and soaring vocals it was always going to be a success.
Due to what can be pressed onto vinyl the CDs have the full audio release whereas the vinyl has selected cuts. The package is a heafty tome with magnificent reproduced artwork that just looks sharper and wonderful sleeve notes included. the bonus disc is made up of ‘Children Of The Sea’ – Live B-Side Of ‘Neon Knights’ and ‘Lady Evil’ – 7 Mono Edit (unreleased on CD) so I guess to get the full experience the CD and Vinyl purchase is necessary. I only ever owned a second-hand copy of the original record until it was released on CD and have to admit it’s possibly my favourite Sabbath album of the lot including Ozzy releases. (Flame me I can take it) Having a crisp brand new vinyl copy in my hands is an emotional thing and memories come flooding back. Saying that ‘Mob Rules’ has its exceptional moments from the quiet parts of ‘Sign Of The Southern Cross’ and the rocking opener of ‘Turn Up The Night’. Dio brought new energy to the band and the quality of the songs and the running sequence was/is majestic.
The power of Dio’s vocals is none more evident than the bonus disc of ‘Mob Rules’ – ‘Live At Portland Memorial Coliseum, Portland, OR, April 22, 1982‘ captured in sequence on the CD but only highlights on the vinyl. The artwork and sleeve notes are magnificent on the vinyl but it is a shame it’s not the complete show like the CD because the Dio originals alongside the older Sabbath tunes are excellent and Dio takes it in his stride and the new Sabbath was born.
As far as reissues go these two are easily as good as the previously released box sets and all goes to prove what a great band Sabbath was/is Ozzy or Dio it matters not they both released some incredible heavy rock records and to hear then sounding this good is a treat. With Christmas coming why not treat yourself, if you’ve been naughty or not so nice pick em up at the link.
Imagine The Hives were from the North Of England and were a three piece who could kick up an absolute shit storm be it on record or live, well? They’d be called Nosebleed and kick your backside with their brand of Garage punk n roll. Hailing from Leeds, Leeds, Leeds, these three gents are about to turn in one of the best records you’ll hear all year.
After the introductory punch to the eardrum from the fuzzed-out burst of energy that is ‘Dance With The Devil’ this album is a no holds barred rush of energy and a lesson in great songwriting. Careful those guitar chords are sharp as a chef’s knife. ‘Bad Magic’ is groovy as fuck and it doesn’t stop there because they’re all pretty much groovy as fuck but ‘Lost And Found’ is an energetic fucker that will rock your world from start to finish. these guys are on FIRE!
As the album settles down (well it doesn’t really but you know what I mean) ‘Let It Go’ is on a steady diet of rocket fuel and with the BV’s raising the chorus the shuffle of the verses as they shake rock and roll you into a frenzy only for the guitar solo to rock your world. This record was my companion on a long weekend recently and my train journey was a blast as the music kept pace with the train as it powered across the country moving faster than a 125 with more class and power.
They do add some shade to the white knuckle blinding light of the first few songs as ‘Under The Knife’ adds some Stooges piano tonking for good measure as the slower waltz of that fuzz guitar is an aural pleasure. “Were under the knife” is a hint of the fine Garage noise Brother Jim Jones dishes out.
Initially recorded in 2019, the band stalled its release when the pandemic hit as their incendiary live performance was such an important aspect of what they do so with some years behind this release the live shows should be off the scale and if they busied themselves they should have the next album already in the can.
Twelve songs all different flavours of garage rock n roll but all rather tasty. I also love the fuzztones flavoured ‘All I Know’ with its shimmering guitar and fuzzed bass its melodic and massive sounding and a gear shift from their frantic tunes. The band do get more adventurous with the songs as the album grows twisting and turning down different avenues with ‘I Don’t Know’. Fear not speed freaks the thrash and frantic tempo of ‘I Got A Feeling’ has them chasing towards the end of the record.
To close of this rather exceptional record they dish up a howling funeral strut entitled ‘Make Up Your Mind’ and then they’re gone but not until one final wah driven freak out baby on that electric guitar. What a fine, fine record this is. some fantastic songs and hardly any drop in quality throughout and it would be remiss of me to not urge you to check this out and if they should roll into town get down the front for a frantic workout of the mind and body as you ‘Dance With The Devil’ excellent stuff indeed.
The Darts – ‘Love Tsunami’ (Dirty Water Records) Formed way back in 2016 to make some Garage Rock all girl noise they’ve toured with The Living End and The Longshots which in itself is impressive they had their last album released on Alternative Tentacles so why wouldn’t this three track 7″ blow you away? The lead track has that opening stab of organ mixed up with some groovy spooky backbeat and punchy bass it’s cool as fuck and that’ll do for us. The second offering is more of the same as ‘Shit Show’ is a swirling laid-back groove on the verse but when it hits the chorus it wigs out and that’s champion that is. Only leaving ‘Underground’ to pick up the tempo and fire up the engine as we head towards oblivion but with a jukebox full of top tunes. Pick this banger up Here
Wild Zeros – ‘Diggin It’ (Heavy Medication Records) France’s kings of fun, frantic rock’n’roll are back! It’s been almost three years since we’ve heard from Wild Zeros with their 2019 singles compilation “Well Cooked!” (also released by Heavy Medication). Now, the gruesome threesome from Bordeaux celebrates 15 years of three-chord bashing with a KBD-styled three-song 7-incher titled “Diggin’ It”. Roaring guitars, galloping bass and heavy pounding skins join forces to deliver loud, trashy rock & roll that’ll please all fans of Devil Dogs, Teengenerate, and Infections as well as die-hard disciples of Crypt and Rip Off Records. ‘Dig The Dirt’ ticks all the right boxes as do the other two tracks with ‘Tough Job’ being more of a straight old school slice of punk rock with heads down and play that guitar until your fingers bleed. My fav on the single is ‘Did You Dig It?’ taking no prisoners with a dirty slab of garage punk rock. Nice! Buy Here
JOHNNY THUNDERS – ‘These Boots Are Made For Walkin’ (Golden Robot Records) One of my favourite artists ever gets dug up for the umpteenth time and this live recording of the Nancy Sinatra tune that Johnny performed numerous times. Howling feedback and nothing more than a soundboard recording or a pretty decent bootleg. It’s lifted from a forthcoming Golden Robot live album it’s classic Thunders. It’s sloppy, cocky, howling with feedback just as I remember him. Often imitated but never bettered Rest In Peace Johnny you crazy fucker. Top tune from a top musician and performer.
Pat Todd & The Rank Outsiders – ‘Down On 7Th Avenue’ (Heavy Medication Records) ‘Down on 7th Avenue’ is a classic balls-out rocker that Pat Todd has made his trademark. On top of that, he never drops in quality with his ever-present attitude it mixes up some country, punk n roll but always a good time. “I Will Give Up” is a slice of New Orleans-styled R&B about picking up the pieces and movin’ on that accompanies another cold beer and tough guys shedding a tear in the corner with the best bar band dishing out the soundtrack. Another day another quality Heavy Medication release but this one is a Co-release with Dangerhouse Skylab (France) Yee-Haw!
DAVID BIERMAN OVERDRIVE ‘She Don’t Love You’ (i94 Recordings) David’s band in the 80- 90s The Junk Monkeys were known for their straightforward rock and roll. No metal overtones, no industrial edge, no rap hybrids. Just straight-up rock n roll ala The Rolling Stones, The Replacements and Cheap Trick.
The band toured relentlessly but David decided to leave the music business until now. After five years ‘She Don’t Love You’ shakes off any cobwebs and just Rocks and fuckin rolls period! It’s not reinvented punk n roll or any fad tune its just a subtle slow burner with a cool Westerberg vibe building into a cool chorus. The flip side is more of the same maybe coming in more on a Green on red rockin out tip mixed in with more of that cool Replacements vibe. Excellent offering check it out Here
Ming City Rockers– ‘Jill Was An Anarchist’ (Self Release) The first single from their upcoming album ‘LIME’ which will see the light of day on Jan 26th. It’s classic Ming City Rockers. A rattling garage indie masterclass it’ll burrow down into your ear and lodge inside your head and before you know it you’ll be shouting at randoms that Jill was An Anarchist. Great to have them back
Bob Vylan – ”The Delicate Nature’ ft Laurie Vincent of Slaves (Self Release) Another cracking slow burner from Vylan until the final furlong when he picks up the pace. OF the success of the first two albums Vylan shows no sign of letting up with this new track. Easily one of the UKs most exciting artists does it again.
Black Aces – ‘Show You How To Rock’ (Off yer rocka records) Whats that you say there hasn’t been a great DC-infatuated band kicking it for quite a while. Well, get an ear full of these boys. Aussie pub rockers Black Aces are also set to celebrate the five-year anniversary of their highly praised sophomore album release, ‘Anywhere But Here’. In honour of the occasion, album opener Show You How to Rock N Roll has been given a brand-new lyric video release featuring behind the scenes and previously un-released footage of the band from over the years. In the middle of a UK tour we recommend you turn it up and check em out! Buy it Here / Connect with Black Aces:Website/ Facebook
DEADWOLFF ‘Heavy Rock N’ Roll’ (Golden Robot Records) Hold on a second, We’ve covered these hard rockin gods before and if you’re looking for a second opinion then ‘Heavy Rock and Roll’ is it. It’s a studded gauntlet double thumbs up from HQ Deadwolff take no prisoners and run on whisky fumes and a heavy dose of Witchery. If you don’t dig this bad boy then you clearly aren’t friends of ours. Absolute stone cold class. Old school motorhead meets warfare, meets Dianno, Girlschool and some grubby punk rock for attitude. Bring on the next release and make it an album packed full of the same just more! Love it!
There is an album on the way from this classic three-piece Canadian outfit in the can and we can’t wait. Get em over to the UK with Wolfspade so we can all windmill and headbang like possessed mother fuckers! Now!
Black Star Riders – ‘Crazy Horses’ (Earache Records) An audacious cover version of a 70s classic sees Black Star Riders’ cover of The Osmonds’ “Crazy Horses” deliver the goods – the vocals are pretty spot on, an eyebrow-raising impressive and energetic take for sure. Lifted from the new album ‘Wrong Side of Paradise’, out 20th January 2023. Pre-order now on signed CD, limited edition coloured vinyl, special collector’s sets and more at https://www.earache.com/blackstarriders
Australian garage rockers Civic follow up their impressive EP and album with a brand new video off their second full album release. Hot on the heals of ‘Future Forecast’ the Australian garage rockers tease with the first video lifted off the record ‘End Of The Line’. ‘Taken By Force’, is released on ATO but will also be sold through Rough Trade for UK fans which should help keep the shipping costs down. The follow-up to the Melbourne quintet’s 2021’s debut ‘Future Forecast’ was recorded in the countryside with Radio Birdman frontman Rob Younger as the producer The band spent long days holed up with Rob and the finished record looks set to propel the band to a wider audience. Pre-order the album Here
Canadian speed metal merchants Exciter, along with bands like Accept, Motorhead, and fellow Canadians Anvil, are widely regarded as one of the innovators of the speed metal movement. Speed metal was a precursor of thrash metal, and it has been argued that Exciter invented thrash, but for me, that title sits firmly on the shoulders of Metallica. Ibelieve that Exciter was an influence on what would come later but they were never a thrash band.
Their debut album Heavy Metal Maniac was released through Shrapnel records in 1983 and they had a successful run throughout the eighties touring with the likes of Mercyful Fate, Motorhead and Manowar. The band split up in 1989 but reformed in 1991, the line up at the time consisted of drummer/vocalist Dan Beehler, bassist David Ledden and guitarist John Ricci. The album I am listening to right now – Kill After Kill was released in 1992 on Noise records. The album is being re issued by Cherry Red Records, it has been remastered and includes extensive liner notes and contributions from the band describing the recording process and the changing climate in the metal world at the time.
This is my first time listening to this album and I have to say it is an extremely enjoyable listen for an old school metal head like me. Pounding drums, screaming vocals, manic guitar riffs and song titles like Smashing Em Down andRain of Terror give you a good idea of what is on offer here. There is nothing highbrow about Exciter, they absolutely deliver the goods here though. Dig out your studded wristbands and bullet belts, turn this up to eleven and worship at the metal altar of Kill After Kill!
Anyone familiar with Luke Haines will know that his albums and projects are unpredictable. Typically, after Peter Buck bought one of Luke’s paintings of Lou Reed, the two ended up working on the ‘Beat Poetry For Survivalists’ album. With tales of rocket science, magick and Bigfoot, it’s an acquired taste. I loved it, and this time around, after last year’s excellent ‘Setting The Dogs On The Post Punk Postman’, Haines and Buck reunite in a more solid, band format. Luke seems to mainly be playing acoustic, Buck does his thing, weaving through Luke’s soundscapes, while Scott McCaughey plays bass and mellotron and Linda Pitmon is on drums.
That said, these are clearly Luke’s songs and vision. Psychedelic paranoia abounds from the off, with ‘The British Army On L.S.D’, woozily stating “with my bare hands I’ll chop down this tree”. ‘The Skies Are Full Of Insane Machines’ builds the tension, while ‘Sunstroke’ lets you breathe, a slower acoustic track, with Luke’s now expected recorders. ‘Revolutions’ gets groovy to thoughts of past empires, 45 rpms and bloody revolutions. It’s catchier than it sounds! Although the album is more experimental overall than the previous two, Luke always brings enough tunes to sweeten the darker moments.
Speaking of which, ‘Won’t Get Out Of Bed’ comes on like an alternative Burt Bacharach. You may already have heard it, along with ‘Psychedelic Sitar Casual’, which could be an Auteurs riff, unsurprisingly. I always look forward to a new Luke Haines album, you never know what you’re going to get, but it’s always good. Maybe I’m overthinking, but it sounds a little less ‘English’ than ‘Setting…’. I wonder if it was already written before they started playing together? Any chance of an interview, Luke? Let’s hope so.
The quality doesn’t drop, whether it’s ‘Subterranean Earth Stomp’ with a wonky, glitter beat or ‘The First Time I Met God’, with acoustic and E-bow, with God dressed as a Teddy Boy. ‘(Exit Space) All The Kids Are Super Bummed Out’ starts like an alien choir, taking us on a far-out seven minute journey. The tablas are out for the hypnotic ‘Iranian Embassy Siege’, there’s tales of ‘Flying People’ (excellent drumming), and the jazzy ‘Diary Of A Crap Artist’. ‘Waiting For The UFOs’ is a fitting place to end this trip, man. There is more, but I’m off for another listen. It’s an album that benefits from headphones, for your undivided attention. Luke Haines has done it again.
*Tune into Boogaloo Radio, Fridays 12-2pm GMT for Luke Haines (Righteous In The Afternoon)
WARNING: IF YOU DON’T LIKE IT LOUD, HEAVY AND IN YOUR FACE -DESTROY THIS IMMEDIATELY!
Nov. 18 is the explosive date of the release of this rare live concert footage of the indomitable High Priestess of Metal, Wendy O. Williams, featuring Special Guests Lemmy and Wurzel from MOTORHEAD, on DVD.
Shot at London’s Camden Palace in London in 1985 and originally broadcast on Sky TV, the footage captures Williams in a rare and pinnacle moment in her now iconic and legendary career – with trademarked backbend screams and scorching vocals at an unmatched, blood-pumping, high-energy athletic pace. The largely speed-metal set features an appearance by Lemmy and Wurzel from MOTORHEAD, who join Wendy onstage for the song “Jailbait,” as well as audience sing-alongs for “Bump and Grind,” with lead guitarist Michael Ray on Wendy’s shoulders, “Fuck and Roll,” the song “You’ll Succeed,” a crowd pleaser that never made it onto an album, Wendy’s “Banana Rap,” and much more.
Wendy’s musical career began in 1977, when she met radical counter-culture artist Rod Swenson in NYC and he created the PLASMATICS, a band of changing musicians around her that revolutionized American culture, creating a shockwave still felt today. “Way more than a rock band,” as John Levy said on VH1 some years later, “the Plasmatics were a phenomenon.” “The Ramones x10, the Sex Pistols x10, the Clash x10,” wrote Charles Young in Classic Rock. They introduced the mohawk to mass American culture, fused punk and metal when those groups hated each other, and produced stage shows that included Wendy chain-sawing guitars and blowing up full-size cars, among other things that have never been matched to today. Banned in London, busted in Cleveland and Milwaukee, Wendy and the Plasmatics were introduced in 1981 by Tom Snyder on his late-night TV show as “the greatest punk band in the world.”
By 1982, after the release of two albums (New Hope for the Wretched, and Beyond the Valley of 1984), and an EP entitled Metal Priestess, the Plasmatics released the landmark punk-metal fusion album Coup D’Etat, which the LA Times called “the best slice of heavy metal since the last AC/DC album,” with Wendy’s vocals so strong as to make the likes of “Pat Benatar sound like Judy Collins.” For the next two albums, Williams and Swenson decided not to use the Plasmatics name, eliminate the theatrics (“been there, done that”), and focus on Wendy’s vocals.
The first of those albums, the WOW album, was produced by Gene Simmons of KISS and got Wendy a Grammy nomination for Best Female Rock Vocal Performance of the year, and was picked by heavy-metal bible’s KERRANG’s Malcolm Dome as “Best Album of the Year.” Wanting to bring back the speed of the Plasmatics, Wendy’s next album, a full-out speed metal album, Kommander of Kaos (KOK), was released the next year. And it was during this period in 1985 that this concert was shot. The show was produced by Philip Goodhand-Taite and directed by Rod Swenson.
Sometimes gigs pop up and you just have to book, no thought necessary especially when it comes to a legend of the Underground, one of the original pioneers of Art Rock, a founder member of the Velvet Underground, appeared on Nick Drakes Bryter Later, as well as producing bands as diverse as Squeeze, Patti Smith and Sham 69!! I mean come on he even set out the score for Leonard Cohens Hallelujah that Jeff Buckley followed, only thing is this gig was initially logged as with an orchestra, and the special guests weren’t actually announced until the week before.
Safe to say when Gruff Rhys (Super Furry Animals) James Dean Bradfield (Manic St Preachers) and Cate Le Bon (previous collaborator of both Gruff Rhys and John Cale) plus adding in a gospel choir were announced you knew it was going to be a bit special.
Before diving into the gig I have to say something about the setup in the Millenium center for the Festival, exhibitions, live acts in the foyer, and other acts in Smaller theatres if you get a chance to check it out next year it’s well worth a look (As a footnote Pussy Riot were playing in the other theatre).
The gig itself? Wow talk about a representation of an artist’s career, but reworked updated, and current. The first song that jumped out at me was the third track in Do Not Go Gently Into That Good Night, wow talk about emotional, next up Mercy more than held its own in fact the new stuff (LP is released in January) really sets a high bar. Then the first of the guests came on and just Wow, Cate Le Bon stole the show completely if anything I’d have loved to see her perform some Nico-era stuff but we made do with Gideons Bible and the stunning Ghost story.
Next up the superb Style it takes from the Songs for Drella collaboration with Lou Reed. After drifting through Hatred and Half past France we had the first of another two newies Hanky Panky Nohow and for me, the standout of the night “Moonstruck” both a tribute to and homage to Nico.
Gruff Rhys then entered stage left to bring us Dead or Alive and Jack the ripper returning us to an era of Psychedelia, before Guts cranks things up swiftly followed by a personal fave from the Velvets I’m Waiting for the man, now if only Cate Le Bon could have/had time allocated to perform All tomorrow’s parties or Femme Fatale, it would have been perfect (but what do I know).
Next up James Dean Bradfield brought a whole new dimension to Buffalo Ballet and Ship of Fools, before Cale’s interpretation of Heartbreak Hotel, if you’ve never heard it do yourself a favour!!! Then we’re into the last couple Hedda Gabler and Oh La La.
I have to say the orchestra, Brass section, and Gospel Choir all deserve a mention, adding huge depth and layers to the songs.
It’s not every day you get to see a Bonafide legend of the underground, it’s even less when the new unheard songs yet to be released show you how even now John Cale is shifting focus, bringing something new to the plate. Pity pussy Riot wasn’t the support act instead of playing in a separate theatre. Would have definitely made my night.
As we gathered slowly in the cavernous Hammersmith Odeon at the ungodly hour of half six the Italian trio Smalltown Tigers strode onto the vast stage and proceeded to deliver an energetic set of power pop punk rock with some great hooks and plenty of tunes The Smalltown Tigers seemed to be loving life. It’s a shame there wasn’t a capacity crowd in already as I think that would have helped with the energy of going on so early but it would have been a tick off the bucket list to tell anyone they’d played the famous place and with The original Damned. I think had it been in a small tight club these three ladies would have enhanced their reputation tenfold so until next time…
Next up was the ever-enthusiastic TV Smith & The Bored Teenagers who proceeded to waste no time in taking out two mics, getting tangled with a third in the bass player guitar lead but still managing to race around like a teenager. TV delivered a really good set with an impressive catalogue of songs always opening with ‘No Time To Be Twenty One’ which set the tone. Playing with boundless energy and class and ending with a rather splendid hattrick of songs in ‘Bored Teenager’, ‘Gary Gilmores Eyes’ and ‘One Chord Wonder’ leaving the stage to rapturous applause to a now swelling audience.
TV was followed by The Skids who again rose to the occasion with an impressive ten-song set that included (the U2 song) (I know I’m only yanking your chain) ‘The Saints Are Coming’ an excellent ‘Circus Games’ some memorable as did the Hits of ‘Yankee Dollar’, ‘Masquerade’ and the most excellent ‘Into the Valley’ Jobson dancing and some very amusing banter from the frontman as well. By now the venue was packed and everyone seemed in a great mood up for it and joining in which was fed back from the stage before playing tribute to brothers’ fallen as a worthy rendition of ‘Complete Control’ was covered and they thoroughly deserved their ovation as they left the stage.
Finally, the moment had arrived and a show they said could never happen was upon us and the excitement was building. Well, It was just about to bloomingwell happen. when these four walked off stage back in the turn of the 90s I thoguht like many (the band included) that was that, never to be repeated but sometimes if you dream hard enough those dreams can come true.
Now I know Damned fans can be a funny old bunch and famously hard to please but not this bunny, nope me I thoroughly enjoyed turning back the clock. It was exactly what I’d hoped it would be, the incendiary debut album with a healthy splash of ‘Music For Pleasure’ teetering on the right side of under-rehearsed and as garage as fucking possible. Fuckin’ beautiful! So they’re a lot older and Brian was physically a bit shaky but fuck me the man has magic in those fingers and a tone to die for. Rat was never a drum tickler; more a smash-and-dash player who played with his heart on the inside of that snare he always felt his way through songs knowing when to give it some (al a Moon) and when to lay back and shuffle and you never lose that if you’re one of the great. Rat Scabies is one of the greats and tonight he played like he was actually enjoying it and the realisation that fuck me – The Damned could play and more importantly, they had the tunes to go with the chops.
sure right from the off Captain and Dave looked like they were on top of the brief and were enjoying being part of history and for this to work there wasn’t time to fuck about or scratch old wounds this was a celebration that they have endured and triumphed in the face of adversity and competing with a pandemic this day had finally arrived and it was spectacular.
Now I’ve never subscribed to the misconception that ‘Music For Pleasure’ was a dud and on the back of the spectacular debut they’d run out of ideas and tonight I was overdosing on the record getting my fill of tunes from the horn-honking ‘Alone’ to the MO of ‘You Take My Money’ via the non-album tracks like ‘Stretcher Case Baby’ and the splendid ‘Problem Child’ they should champion that bloody record and tonight it got a fair airing.
Brian delivered the abrasive garage chops with tone and panache and plenty of volume whilst the much-underrated rhythm section of Captain and Rat held it together in fine fashion. So it was hanging on by a thread at times but that was always part of the appeal, wasn’t it? This was punk rock with a huge dash of Garage just like Their heroes The Stooges this band could go toe to toe and in my humble opinion give Iggy and the gang a TKO on the song front as a friend once said to me The Damned were his Beatles and I have to agree having seen them dozen and dozens of times over many decades this one seemed special, after the pandemic and shall we say disagreements this seemed special, Cathartic, emotional and just about perfect.
The band was smiling and actually looked like they knew this was the right decision and playing these songs again together was absolutely the right thing to do and that shone through in their delivery. Vanian must have struck a deal with Beelzebub as he looked as lean as he’s always done, stalking the stage, sometimes in the wrong key sometimes not, but who actually cared it was never meant to be anything other than four men hammering out some of the finest songs ever written, their place and time in music should never be a footnote to the Pistols and Clash but the other way around they were the first to kick this off and trailblazers they have always been and paying tribute to their achievements as those trailblazers the set was perfect with a fine balance of debut album songs – hell, they even smashed out a brutal ‘Stab Your Back’ which might have been the tightest song of the night. From opening with ‘I Feel Alright’ this was more than alright this was beautiful right through to ‘New Rose’ but not before they delivered ‘Pills’ and as they’ve done before it was a poignant ‘the LAst Time’ and into the night the four heroes went. That was emotional just like Rock and Roll was intended to sound. Raw, electric, and dangerous. Fuck I love The Damned, can we do this again sometime, please?
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