Details for a 9 date UK headline tour – including two dates at London’s Alexandra Palace Theatre on November 30 and December 3, 2019 – in support of his forthcoming eighth album, ‘NO MAN’S LAND’ (out August 16th on Xtra Mile Recordings/Polydor Records). Produced by Catherine Marks and featuring an all-female cast of musicians, ‘No Man’s Land’ is dedicated to the fascinating stories of women whose incredible lives have all too often been overlooked by dint of their gender. The album is accompanied by a new 13 part podcast series, ‘Tales From No Man’s Land’ (created in collaboration with Somethin’ Else), which hit #2 on the Apple UK podcast chart upon launch. Tickets for the UK headline tour will go on sale on July 19, with a special fan pre-sale via Frank’s store – https://store.frank-turner.com/.
The tour dates will see Turner put a new twist on his formidable live set up, featuring a solo set followed by an unplugged band performance in seated venues. Speaking about the format, Frank says; “For this tour, I thought it would be good to give the new album some proper attention, so the first set of mine of the night will be a solo run through some of those songs and stories; once the Souls are up with me, we’re playing around with a slightly more stripped back, thoughtful folk approach to some of the older material, which feels different and powerful. Looking forward to sharing a slightly different show with everyone for this run.”
The women featured on ‘No Man’s Land’ come from across wide geographical and historical lines. They include Byzantine princess Kassiani (The Hymn of Kassiani), Egyptian feminist activist Huda Sha’arawi (The Lioness), and Resusci Anne (Rescue Annie) an apocryphal drowned virgin whose face was used as the model for the medical CPR mannequin across the world. There’s the serial killer from the Deep South who plucked her victims from lonely hearts pages (Nannie Doss), the jazz-obsessed heiress who fought for the Free French (Nica Rothschild) and a rowdy coach house landlady from 17th century Camden Town accused of witchcraft (Jinny Bingham).
“It’s bringing together my two main interests in life, which have always been separate from each other – history and songwriting,” explains Turner, who can be found seeking out long-forgotten historical sites on self-guided psychogeographical strolls when he’s not packing out arenas or headlining festivals.
Animated video to fan-favourite and album highlight “Never Fight A Man With A Perm”. The video was put together by the team behind Fluffer Records (Al Brown, Russell Taysom & Stella Belle Hex) who have said the following about the concept:
“The idea for the “Never Fight A Man With A Perm” video came directly from the lyrics of the song and how it tackles the subject of toxic masculinity. Using a British take on the classic arcade beat ’em up platform game seemed like a cool way to put this across visually.”
While someone’s first thought might be that this is simply going to be Tyla playing guitar and harp singing the songs from last year’s brilliant album, you would be incorrect. ‘In Vino Veritas’ has been my most played album since last year when I first heard it. Those versions have really dug their claws into me and taken hold of my soul in the same way that the classics by the band and Tyla have. This is a total band effort though that is really quite magical. If we think back over time to the likes of ‘Billy Two Rivers,’ ‘Satellite Kid,’ ‘As I See the Poppies Falls,’ etc., the Dogs have never been ones to shy away from playing acoustic songs and giving them some kick when needed. This collection of Dogs are simply on a roll with this being the next perfect feather in their cap.
In terms of the songs, everything follows the same running order from last year’s full blown electric album. Many of you reading this will have heard ‘111’ acoustically in the past on the ‘Bloody Hell-Fire’ album and others spots, but this album is significantly different. This one feels a little grittier with the great piano in the background giving it a bit more color. The chorus is still huge and sets the stage for an album that really comes alive in the darkness of night. ‘Black Confetti’ begins with piano and the opening lines before the rest of the band join. The opening lines certainly paint a picture with the song feeling like it could have been lifted from ‘A Graveyard of Empty Bottles.’ The backing vocals are exquisite, and this is simply a great Dogs song. Next up, we have ‘Bloodline’ which took the longest for me to warm up to on the electric version of the album. It gets some swing here, and the added organ is an awesome touch. The chorus seems to carry more weight here for me. The piano that gets added with the organ in the second verse jumps out of the speakers. This song really shines more in this format for my tastes.
Dogs classic in waiting ‘Bottle of Red’ has already proved to be a live favorite. If you have been collecting the b-sides, you will already have an acoustic version, but that version is really not a full band version like we have here. This one still bounces like the electric version with the whole band rocking. This feels a bit like ‘She Thinks Too Much of Me’ with some similar country sounding guitar licks. With everyone singing the chorus, this is the sound of a band lost in a glorious moment. I was really curious how ‘Chicago Typewriter’ might be presented as it is another of the hardest hitting from the electric album. We have no sirens welcoming this version. Lyrically, this is the simplest the Dogs have ever been with the vocals really being more of an additional instrument. This version also kicks butt with Tyla in prime form. The haunting group vocals add to the ambiance of the song with the song gaining in intensity as it grows. The celebratory, jubilance of ‘Empire’ is slowed down here, with the electric guitar riffs sizzling on the acoustic frame. This one never fails to put a smile on my face with Tyla again laying down an awesome lead vocal while the band adds in a lot of ‘Woah’s’ in the back of the mix. It provides a great close to the first half of the album.
Kicking off Side 2, ‘Everything to Me’ feels like it has more teeth here than on the electric version, even though it remains a midtempo jewel. The ‘sha la la’s’ again providing an extra element to the song with the chorus being another one that compels a singalong. It also hits on an element the Dogs have had since I first heard them over three decades ago. The lyrics hit the heart and soul. They are real and feel tangible. The first song I got to hear from this album was ‘Fuck Off Devil,’ and it showcased how different some of these songs would ultimately feel. This is an acoustic blues assault that adds tempo and attitude to the original. This feels like walking in on a jam session where the spirits are in full effect. As much as I enjoy the electric version, this acoustic version could have just as easily fit on that album as the slow blues break it gave the electric version, it flips the switch here and gives the acoustic version a blast. Another Dogs classic in waiting ‘I Don’t Love Anyone’ follows and showcases that a happy Tyla can write one heck of a love song. This also showcases that I really cannot say which version of the album is “better” because, at the end of the day, these are 12 awesome songs that are done two different ways by a band that is swimming in a pool of perfect chemistry.
Approaching the last three songs remains bittersweet because it means the album is ending, one of my favorites from the electric version ‘In Vino Veritas’ remains a magical piece of music. This version reminds me more of something that could have been on ‘The Life and Times of a Ballad Monger.’ I love how the instruments get added into the mix as it goes with the horns coming to life. The guitar picking here pops as well. The bluesy ‘Monster’ opens feeling more like a blues standard from the likes of Wille Dixon. The harmonica and piano filling out the song and working perfectly with the groove. ‘Movie Star’ concludes the album with an upbeat acoustic rocker that serves as a great closer. The closing lines here connect in a similar way to those last lines on ‘She Put It In Here Arm’ did.
Our Dogs on this album remain the same that they have for the last several years which has only made their output more awesome in my opinion. We have:
In addition, Phil Cassidy plays Mandolin, and Ian Douglas handles the Saxophone.
This album was announced around the time the electric album launched, and the wait was well worth it. ‘In Vino Veritas’ has constantly found itself as my go to album for the past 9 or 10 months, and I have a strong suspicion this one will be the exact same way. You can pair it with the new ‘A Graveyard of Empty Bottles’ for an acoustic double album blowout or mix and match it with the original album. At the end of the day, the Dogs catalog has continued to grow with this album being another awesome addition to the discography. I think it is a must own for Dogs fans and anyone else who enjoys great songs with an acoustic frame but venom in the blood.
First up what makes a bunch of guys who are old enough to know better pick up some guitars and play punk rock n roll?
Jonny- I’ve been playing music for over 30 years, it’s just what I do. It’s not that we just picked up guitars, we never put them down. I started playing music in the 3rd grade and was the lead singer of a punk band with my brother and his friends when I was 8 or 9. We were called Peanut Butter Wolf. I definitely didn’t know any better at that age and just kept going. My big brother Chris later picked that band name (Peanut Butter Wolf) to use as his DJ/Producer name. He founded and runs one of the most respected hip hop indie labels out there called Stones Throw Records.
Neil- I’ve been playing since age 13 . I’m daft and I’m not qualified to do anything else. I also feel it’s important as an older dude to help keep rock and roll alive. Does my contribution matter? Probably not, but I can just convince myself that it does and continue to do this until I’m blowing spit bubbles and shitting myself in the nursing home. I also need this kind of release or I’ll rot like whatever the bubbling ooze is that’s in the so-called “crisper” in my fridge.
It always matters Neil
Thor- I can’t imagine doing anything else, started playing out in San Jose at age 16. My other band FlexxBronco just came off touring and we had a break when I saw Jonny post a random ad looking for a drummer. I’d known him for over a decade from the scene, and everything lined up. We came from the same influences of Southbay Skate/Surf/Punk/Rock, so jamming and writing music just rolls and feels good. Neil stepping into Bass in addition to producing is priceless. I say we play, because we still get off on it. Some people spend their weekends playing golf and looking pretty, we choose to rock and get dirty!
Can you remember the first record you heard that made you think – I want to do that?
Jonny- I remember seeing the movie Back to the Future in the theaters and I wanted to be Marty McFly so bad. On the way home from that movie, we stopped at the store and bought my first real skateboard. The movie kicked off my love for skateboarding and Chuck Berry. Sure, I rode a plastic toy skateboard down my driveway before seeing that movie, but seeing Marty jump curbs and hang onto cars was electrifying. It opened up a whole new world. Skateboarding went from a toy I rode down my driveway on my butt to a legitimate action sport and a lifestyle I live to this day.
.Neil- Meet the Beatles. I was 5 years old and incessantly mimicking the whole album with a plastic toy guitar and waking up my baby sister while doing so.
Thor – Van Halen 1984, I idolized Eddie Van Halen as a kid, this was the first album I ever bought.
Tell us how the band came together?
Jonny- I was playing in 7 bands at the time. I was the town hired gun who played bass, drums or guitar in one band or another on any given night. It was common for a band practice to get canceled at the last minute, so when that would happen, I’d go into my garage and record tracks by myself. It started as a way to kill boredom. I’d write a song on guitar within 10 minutes, play it 4 or 5 times on an acoustic to memorize it, run downstairs to the garage, point a shitty mic in the direction of the drum kit, hit record on my cassette 4 track and I’d play the drums to the song stuck in my head. Then I’d run back upstairs, plug in my guitar into one of those tiny battery powered amps, stick that shitty mic in front of it, hit record on my 4 cassette track and track the guitar to the drum track I just laid down. Then, I’d plug my bass directly into the 4 track and track a bass line. Once I had all of that, I’d play the song on repeat, pull up a word doc and write lyrics. Once I had lyrics, I’d use that same shitty mic and track my vocals on the last open track. I would track the guitar solos on the vocal track between the vocal phrases and a song would be completed on a cassette. This process of having the idea to having a completed recorded track typically took an hour. I made a myspace page (this is 2006 mind you) to host the first song so I can show my friends and one song turned to fourteen in the course of a few months. It was never meant to be a band, it was just a fun activity when I had idle hands. If band practice got canceled, I’d write and track a new song. I was single then and had so much time on my hands, it kept me busy between band practices. People started saying, “this is good stuff man, you should do an album”. So I booked studio time with Joe Clements from the band Fury 66 at his studio The Compound in the Santa Cruz area and tracked the first Depressives record titled Rebound Town. I mainly did this just to see if I could. I was challenging myself while spreading my wings as a songwriter and musician. Once I had a completed studio album done, I put together the first lineup and we started playing shows. There have been many lineup changes throughout the thirteen years, but the current lineup has been together the longest
Neil- Jonny can tell you the story of the evolution. I’m a latecomer who was asked to join and then agreed to be the bass player against my better judgment, but since I was already recording the band and Jonny knew I played bass, both he and Thor asked me to join which I was reluctant to do at first and then said fuck it let’s rock!
Thor- mentioned above already
what about the songwriting who writes the tunes and how prepared were you for the new record?
Jonny- I write the songs. Writing is only done when warming up at band practice. I’ll pull out my iPhone and record the idea as a voice memo so I don’t forget it. The guys learn it a few minutes later and if it feels right, we set up mics and track it. We’ll use that live recording as the foundation of the song and build it from there with overdubs. Those first run-throughs of the song are what you hear on the album. We write while we record. It’s a simple, organic process. The songs kinda write themselves. The lyrics are a pain in the ass though. I always write lyrics last because I absolutely hate doing it. I usually write the lyrics in the mixing room once all of the instruments and overdubs are done, then immediately walk into the live room and track them. What you hear on the albums is basically me reading the lyrics off my iPhone and singing the song for the first time to the track. It’s pretty hokey, but that’s our process. Neil and Thor can just jump in and start playing along whenever I get an idea and the songs are usually put together in a few minutes. We can read each other like that. It’s pretty awesome having that type of synergy. It’s very similar to the cassette 4 track writing process that kicked this all off in the first place. It’s very spur of the moment with nothing premeditated. We don’t rework songs when the idea is there, we run through it a few times and that’s the song.
Neil– Jonny writes the songs. Thor and I come up with our parts unless Jonny wants to hear something specific for our parts. Prepared? I think we worked pretty much everything up, practiced them in a pre-production sense and sat on them enough to develop our parts over time. Some parts were instantly right for the song some took more thought or were unfortunately over-thought at times. We were prepared in the sense that we knew what we were doing going in, established our parts and tracked the basic tracks live, no click
Thor – we write on the fly. Jonny usually starts with a riff, and we have the basic structure figured out within working through a few takes, Then record immediately (no click, all feel) to capture the initial energy we felt while writing it. Then Jonny writes hooks/lyrics over them about things that are happening in his life at that moment. Straight up no bs punk rock. Live tracking is key. We are becoming a more well oiled machine each time, it’s fun!
The record seems to have gone down well in the punk rock n roll community tell us a bit about the new record?
Jonny- We were just recording tracks as they were being written. We had a handful of songs and we talked to Brett at Gods Candy Records about him releasing a 7″. A 7″ turned into a 12″ real quickly because once we started recording, we ended up having a new song at each band practice. I started to show Brett what we were writing and I said, “we’re almost done with an album, why don’t you put out an album?” He agreed and Anybody Wanna Skate the album was in the works. Neil went through hell trying to mix 12 songs recorded on different days, with different mic placements and track settings/EQs. I know it wasn’t as fun for him at times, but we’re all happy that it’s done and we’re happy with the sound. Mixing took longer than writing and recording actually. Sorry, Neil.
Neil- It was fun, it wasn’t fun, it was exciting to put together at times and at times it nearly drove us mad and made us want to quit music altogether. Literally. For me anyway, maybe a little bit Jonny too. I recorded this record and put a lot of hours into mixing it, Hearing it differently every day is the definition of insanity
Thor- we kept it simple, no cheating, live tracking fast songs for ADHD driven minds that are over before you know it… fuck you, diy, about as punk as you can get
where was it recorded?
Jonny- In my garage on a MacBook Pro. We’re literally a garage rock band. haha
Neil- We have a secret studio named Cup O Pizza. Shhhh
Thor- the infamous Cup-O Pizza by Neil Young, lol. DIY in the garage.
when did you decide you had enough for an album?
Jonny- We decided we had enough material for an album when we got to 12 songs and I didn’t want to write anymore. I always shoot for 14 songs, but by the time we got to 12, I was exhausted and said, “ehhh, it’s 12 songs and over 20 minutes, let’s just call it a day. Fuck it, it’s short, sweet and no filler.”
Neil- Don’t know how it wound up at 12 songs but I guess we just didn’t want to do anymore or didn’t have any more to give
Thor- felt done, so we stopped
was it always the plan to record an album or just get as many tracks down?
Jonny- I like to record albums. Our partnership with Gods Candy started out as doing a 7″, but I’m always writing with the plan to release an album. We have six full-length albums and two 7″ records. The 7″ tracks all appear on albums eventually. They are more or less a way for us to promote the upcoming full length. We’re a full-length band, I don’t like EPs much. Sack up and write an album
Neil- Started as a 7″ project and then our label guy Brett got stuck with a full length LP (to us full length is 12 songs in 22 minutes) as we started hammering out more songs and got excited about how they were developing. Sorry Brett. Hahaha
Thor- with recording as much as possible, constantly being focused on getting it all more dialed in and having fun, albums are popping out. Every time we sit down and jam/write, we’ll have 2-3 ideas that quickly become 12
What inspired the songs on the record?
Jonny- Quitting drinking and dusting off my skateboard.
what next? Is there a chance of tour dates to support the record? what about further afield?
Jonny- We’ve been playing lots of out of town weekend shows since the album came out. We’re doing some shows in Mexico in September at a Turbojugend event. This is more of a hobby for us as we all have families and day jobs. It would be nice to play Europe or Japan, we definitely have fans there, but it wouldn’t be very realistic at this point. We are 3 dads having fun, playing in this band is our “bowling night.”
Neil- Well, we have jobs and careers and families and such so any extended touring is going to be out of the question. We have been weekend warriors on the west coast California and for the right situation would do a fly away weekend in the US as our schedules, families and money allows
Thor- have fun, keep building out our catalog and playing as much as possible
Are there any other bands that inspire you to keep playing rock and roll?
Jonny- The Sonics! They’ve been at it for almost 60 years, still playing shows, still releasing amazing, relevant records. I hope to be doing the same when I’m in my 70’s.
Neil- For me there’s just so many of them right now. When I see Radio Birdman still out there doing it (albeit obviously without the classic line-up) and sounding as great as they sound these days, I’m inspired. Any of our grey headed peers out there still doing this and doing it well and without compromise inspires me. hahahah I love The Hip Priests for their uncompromising, unwavering, single minded commitment to what they do which is just full on scorching 21st century garage punk and of course their work ethic, our Houston brothers Satanic Overlords of Rock and Roll who are also amazing and undying in their lust for rock and roll. Everybody’s contribution is inspiring right now and makes it feel like there is still a rock and roll mission to accomplish, which I think there still is
Thor- newer bands like Giuda (from Italy), The Schitzophonics (from SD, not sure i spelled correct), events like Punk Rock Bowling (Vegas), and with bands like Turbonegro, The Hellacopters and Gluecifer playing festivals across Europe again. Other up and coming bands like the Hip Priests (UK) and Against the Grain (Detroit). Besides for venues closing everywhere with less people going out and the cost of touring being so high, it’s a pretty rad time for rock.
the artwork on the last two records has been superb tell us how that came about? an old fav of mine The Disconnects from Jersey had similar artwork from the pork guys how did it come about?
Jonny- We were lucky to be put in touch with artists who get our vibe, know what we’re going for and just made amazing art for us. We feel the artwork almost tells the potential buyer what to expect without even hearing us. I am a huge fan of monster/rat fink art as well as early 80’s skateboard art. Our artwork is basically those two worlds mashed together.
The video for Anybody Wanna Skate looked like a lot of fun you all still skating? if so who’s the best?
Jonny- I’m doing most of the skating, my son JD who was 6 at the time has some clips in there as well as the park locals, my crew of friends, we call ourselves The 9 O’Clock Crew.
Neil- No comment N/A hahahaha
Thor- we are lucky to have access to an ex-pro skater ;), and some bad ass artists and videographers
you must get a buzz outta seeing some guys in Germany or the UK pick up on your music – you played with our good friends the hip priests a few years back how about you coming over this side of the pond for some shows?
Jonny- It’s very exciting for us. The Hip Priests rule! I would like to give a shoutout to Austin Rocket’s mom ;).
Neil- Well, excited and grateful to see we are getting web traffic, spins and reviews worldwide now. I’d love if we could hit Europe for a shorty, but I’m not sure it will ever happen. I’m at least hopeful hahahaha. Anybody want to book us for festivals? Anyone?
Thor- Hip Priests new album kicks ass, happy to see them getting some buzz. Would love to play Germany, UK and across EU, hit us up, let’s make it happen!
what next for the band?
Jonny- Keep writing and releasing records until we can’t physically play. We’re always writing and recording.
.Neil- There’s more shows lined up, but I think it will be writing time again pretty soon. Don’t know about after that. Keep putting out records I guess. Stay warm. Stay friends. continue to do whatever it is that comes up next
Thor- keep rockin with my friends and putting out music we like
finally anything you wanna say? heres your chance
Jonny- Thank you RPM for the love. Thank you to my wife Mandy, my daughter Zoey and my son JD for the love and support. They understand I need to play music to stay sane, so big thanks to them for understanding when I’m in the garage practicing or out playing shows. Thank you skateboarding. Thank you, Neil and Thor, for being the best friends and bandmates a guy could ask for.
Neil- This band is a fun band to be in and I’m grateful for the opportunity to play with 2 of my best friends. Buy our records, spread the word and thanks to those who already have and support what we do
Thor- I love this shit. Thanks to everyone who has supported us over the years, especially our very understanding families. It takes a village, and we are lucky to come from a cool hood.
John Anthony Genzale would have been 67 today. Who knows what really happened at St. Peter House New Orleans I guess we’ll never ever know. What we do know is the former New York Doll and leader of the Heartbreakers was a unique legend who influenced so many and continues to touch the lives of so many through his music HEre at RPM Online we will never forget Johnny Thunders – Happy Birthday Johnny Wherever you might be cheers!
Houston rockers return with a new EP that rips like the Tazmanian Devil tearing through your living room for about 15 minutes and leaving carnage in his wake. This EP succeeds by packing some great riffs with solid hooks that actually leave me thinking more of old bands like the Little Kings, Heartbreakers, Motorhead, and at one point even the Royal Court of China came to mind. I am pretty sure the tempo picks up a bit in the live setting a la the Ramones.
At less than 2 minutes, the down and dirty ‘Somethin’ comes straight from the same sordid streets and back alleys the Little Kings did 30 years ago. My biggest complaint is that the song could have been stretched out for another verse to give it a little more meat. The guitar riff by Glenn Gilbert is awesome. While the vocals are admittedly somewhat one dimensional here, I think that’s part of the charm with the band picking some great places in the record to apply backing vocals. The hard driving blues beat and riff of ‘Austin’ works perfect following the opener. The hook sinks into the brain so fast that you will be singing ‘in Austin’ with Bill Degidio (also guitar) by the middle of the song.
‘On the Street’ finds the band capturing magic with possibly my favorite (and longest at 3:28) song on the record. The groove laid down by Jewels (bass) and Andy Kaos (drums) set up Gilbert’s riffs with the song initially hitting what seems to be the finish line after 90 seconds before it kicks into another gear. This is some great straight forward RAWK that emphasizes the roll as well. ‘Lost Another Night’ is our other longest song at just over three minutes. The mix here by Karim Khorshid is perfect as it feels like everything can be heard without losing any power. The extra time on these 2 songs really gives them great dynamics, and the chorus packs some extra punch as well with it being a little more wordy than the first two songs.
We get back to another fast rocker with ‘Pretty Kitty’ which suffers a bit because of the quality of the other songs here, both before it and after it. The break in the song that hits after the first minute and sets up the guitar solo connects with my soul every time though. Finale ‘I’m Goin’ Down’ rides an awesome riff that channels the Heartbreakers, right down to the vocal pattern. This currently stands as another of my favorites.
When this EP connects with me, it is downright awesome and highly recommended for a spin. At the end of the day, my couple quibbles with it are downright minor and more a reflection of how awesome the material is. Give this a listen on bandcamp and then click on the ‘buy’ button. You will be glad you did.
First up is a new video from Guitar player Samantha Fish and a track ‘Bulletproof’ taken from her ‘Kill Or Be Killed’ album due in September
Next up we’ve got the brand new video from Black Star Riders ‘Ain’t The End Of The World’ taken from their forthcoming new long player ‘Another State Of Grace’.
We end up with this fantastic collaboration from Jesse Malin and Lucinda Williams from his soon to be released album ‘Sunset Kids’ due for release at the end of August.
Heavy as a hammer hitting an anvil and full on subscribers to the school of fuzzed out desert psych Rock with a hint of Grunge thrown in for good measure. Reminding me in places of the Doors grooving on Monster Magnet (‘Covered In Dawn’) Rainbows Are Free is a curious name for a heavy Rock band but Whilst they are heavy on groove and soaring vocals in places they also have a psychedelic edge that shines through on plenty of occasions and although I’ve never seen a picture of the band I wouldn’t be shocked to see some guys in trucker hats long flowing unkempt locks and big hipster beards peering through Gibson SG’s and promo pics leaning on big trucks near a dessert. Now Whilst I don’t really want you pigeon hole them the certainly know how to play and the production on this album is as heavy as early Sabbath but there’s more to them than traditionalist heavy rockers.
Of the Eight tracks on offer half of them are there or thereabouts Five minutes long and some several minutes more than that but that’s a lot to do with the style and once they lock into the groove they’re off. ‘Electricity On Wax’ I know or rather I don’t know. Who knows what it’s about? it doesn’t matter anyway. ‘The Sound Inside’ is a brooding slow builder that has hypnotic qualities as it slithers along on a big power chord towards the inevitable freak out but I do like where it settles back into the groove and the bass is huge here. Like a sledgehammer.
Would it surprise you to find out that ‘Lady Of The Woods/Psychonauts’ begins with a cloud of soft synths blowing in the breeze behind some lush picked acoustic chords before a powerful progtastic vocal breaks in as the six-minute-plus tune heads right down the Sabbath path marked heavy as fuck!
The band shows another side as ‘The Nile Song’ is an uptempo rocker more Zep than Sabs. It’s quite a journey to reach the end and is signed off with the mellow noodlings of ‘Eunice’ a psychedelic instrumental that quite literally has bells and whistles. Rainbows are Free is the name rocking out is their game they mix old school hard rock like the metal Gods of Sabbath and Zepplin whilst straddling some prog, Grunge and old school Doors like Psych. One Mans poison will be another man’s medicine and this will have its audience for sure ones who like loud guitars – time changes big grooves and Rock! Go check em out
Following on from the awesome job Beggars did on the ‘Love’ anniversary it seemed about right for them to get stuck into The Cults ‘Sonic Temple’ when the band reached the top of the Hard Rock tree and played Wembley Arena which seems a lifetime ago now (it probably was). The band enjoyed enormous success with the record and subsequent videos and singles off the album and it looks like once again BB has delivered the goods with these awesome Sets.
The Vinyl BOX SET contains three pieces of vinyl and a cassette plus tour memorabilia and ephemera (replica of original laminate, backstage pass, original press releases, label copy and more). It’s numbered and limited to 3000 pieces worldwide and contains 40 tracks, four of which are previously unreleased. LP1+2 contain the album as originally released. LP3 contains Live At Wembley recorded by the BBC, and the included cassette contains limited-release demos. Four of the live tracks are previously unreleased.
Whilst The FIVE-CD SET contains 53 tracks (including 6 previously unreleased) with the original album on disc 1, alternate edits, mixes, extended versions and acoustic versions on disc 2, limited-release demos on discs 3 & 4 and Live at Wembley recorded by the BBC on disc 5. Six of the live tracks are previously unreleased. It is beautifully packaged in book form with rare photographs and interviews with the band by esteemed journalist James Brown.
Wow, every month I start to see what’s out there in the 45 rpm section and wonder why there aren’t any being released or, I wait until the Hip Priests have a single out; which is normally once a month to be fair. Then I get to thinking, man, there aren’t enough I’m going to have to hold ’em over till next month. Then as if by magic, poof, a bunch of 45s lands either on the doormat or through the email.
This month threw up exceptionally high-quality singles and most pleasing there were many made of wax. you know 7″ round things which I love so without further waffle here’s Julys releases…
SUSPECT PARTS ‘You Know I Can’t Say No’ b/w ‘Song For Sadie’ (17 Television) “An Apocalypse Pop super group with ex and current members of The Briefs, Clorox Girls. More Kicks, RadioDead Ones, Maniac and Red Dons. Here on their brand new single “You Know I Can’t Say No” they combine late 70’s California beach punk and power pop with 60’s garage and bubblegum. It’s a cotton candy-meets-razorblade concoction that goes down surprisingly smooth”. That’s what they said in the press blurb and it’s hard to disagree. Man their long player blew me away and this is more of the same. When rock and roll is in the hands of experts who really really really know what they’re doing then it’s as easy as 1-2-3. Suspect Parts – Record of the month? Too right it is.
Rotten Foxes – ‘Arrive, Raise Hell, Leave’ (Self Release) Brighton’s Rotten Foxes make a ‘fuck off noise’. They play hard and fast and loose and take no prisoners at all. I can’t possibly include the video but I’m sure that’s not where you dip your chocolate biscuit. Its a killer tune and you should be all over this brief exert from the band. ‘Make Me Pretty’ is a cry for help but not even Jim could fix that (Too Soon?) ‘Over The Ropes’ is Exploited meets Motorhead meets Stone Cold Steve Austin – Hell yeah! chug a six-pack n’ lay the smack down and count to three. Killer tune. Rotten Foxes have Rotten hair cuts and perished denim shorts but their Rock and Roll are as Action Rock as anyone. Loud, hard and fast – Get in there! Uncompromising in your face punk as fuck Ave It! I think I love Rotten Foxes – Get em because we hear they won’t be around for long Here
The Speedways – ‘Seen Better Days’/’They Don’t Know’ – Facebook
‘Seen Better days’ gets a new singles mix and aren’t the last band this month to feature a synth running riot over some awesome power pop. It’s no secret how much I love The Speedways and including live favourite ‘They Don’t Know’ is a beautiful thing. That’s exactly how you take on a pop classic, play it like you love it and own it like you wrote it. A Stunning rendition of a stunning slab of perfect pop. Buy it!
Duncan Reid & The Big Heads – ‘Kellys Gone Insane’ (Crocodile Records) Having the original debut solo record reissued with bells and whistles and new tracks recorded around the time (obviously) it makes perfect sense to release a single to promote it, just like Duncan would have done in those olden days when bands made singles to promote their LP. ‘Kellys Gone Insane’ is a belter of a tune I know it and you should too. If you don’t then here’s your chance to pick up a copy. It has two tunes on the B side ‘Pretty Little Rachel’ and ‘Baby Baby’ neither have been on record before so for less than ten pounds whats not to want to own? The lead track first came out seven years ago! Wow, time flys but one thing remains timeless and thats top Rock and Roll and Duncan Reid plays Top Rock and Roll ‘Kellys Gone Insane’ will drive you insane its catchy as hell and will lodge itself in your head – honest!
Kurt Baker Combo – (I Can’t Help) Falling In Love With You (Wicked Cool Records) Its Kurt Baker Combo they don’t do bad songs so it was a no brainer that we were going to love this one. When we got the slightest whiff of a new single and once again wicked Cool has snapped up a great band.
Its great from the opening lead break and throbbing bass line to the snare slap and that’s before Kurt comes in with his new wave drawl. With a great big hook ‘n’ riff and those woohoo! backing vocals, of course, this is a ray of sunshine and another excellent track from KBC. those key stabs remind me of Hot Hot Heat as well which is always welcome – so what’s not to love?
The Hives – I’m Alive/Good Samaritan (Disques Hives) Hooray the Hives are back on wax. Always one of the best rock and roll bands out there on the live front and to be fair they’ve managed to pen the odd banger or two. ‘Good Samaritan’ is classic Hives. With that rapid riff and drum beat with Howlin’ Pelle Almqvist leading the charge, it’s got a killer chorus. it’s great to have the band back sounding fresh and ready for the attack.
Budokan – C’Mon Daddy (Bandcamp) I loved their long player ‘Spin A Little Gold’ and once again these Canadian purveyors of Power Pop have delivered the goods with this classic slab of rock and roll. It’s just a fantastic pop tune played with loud rock and roll guitars. It’s got a great hook and it grooves like a good un. The album came out back in 2012 so I can only presume they’ve been having such a groovy time they lost track of the time between releases who knows. Let’s hope there is a long player on the way folks because these guys are great. Play it loud! Bandcamp
The first video single this month is from South Korean band Bursters with ‘Barriers’ its released as a double A-side single “Barriers / Hero”. Driving metal riffs mixed with instantly memorable melodies and screamed vocals. The band mix the very best of metal with explosive live performances born from consistent touring across Korea. the bband hit the UK this coming week to support the single. K Rock is in the house.
Kettle of Kites – Orchids (Unsigned) Taken from the bands soon to be released album this eco-warrior tune is a haunting new cut that offers a reflection on the blurring of fiction and reality as Earth stands on the precipice of environmental disaster. Deep stuff for a 45. But something different for us here at RPM singles round up so why not get involved and check em out –Facebook
Automatic – ‘Calling It’ (Stones Throw Records) synth punks Automatic take it one step beyond Tubeway Army. The band hail from the underground scene of Los Angeles where they met this is our first taste of the LA new wavers so join us as we catch up with ‘Calling It’ video
Continuing the theme of new bands on us and ones with new video singles out here are Project Revise with ‘Just a Story’.
Next up we have Swedish Metalheads Narnia and their new single ‘You Are The Air That I Breathe’ – Facebook
Genya Ravan ‘Don’t Go Into The Bathroom’ (Rumbar Records) When I first heard this I thought it was an odd title but in the context of the lyrics, Genya makes perfect sense. I mean I went there once and was horrified that there was no stall door for a start but her ode to CBGB is a fine tune. Genya headed up CBGB Records at the behest of Hilly himself so when she sings the lyrics take notice this force of nature is a pioneer and for that she gets our Kudos. Facebook
The Empty Page – ‘He’s Very Good At Swimming’. After Rags reviewed this on its release here’s the accompanying video for your viewing pleasure.
Autogramm – ‘Bad Day’ (Jarama 45 RPM Records) Canadian power-pop signed to a Spanish label singing Ramones Classic in Spanish now beat that. With an ear-splitting synth leading the charge on this throwback new wave no wave. It’s unoriginal yet nobody else I can think of is doing it these days so totally original that is until you hit their cover of The Ramones ‘I Wanna Be Sedated’ but in Spanish of course. Didn’t see that one coming wow. Mind blown right there. you just have to hear it if you’re a fan of Da Brudas and power pop then you have to check it out. Whilst I’m here these guys are heading to Europe and playing a bunch of shows and they’re not ducking the UK they have a couple of shows lined up here too so my advice is to check em out if you can – Website / Bandcamp
Hardship Anchors / Death Lottery – Split (Freetime Boyz Entertainment Worldwide Inc.) Yeah you know we love to hear new bands and when they reach out with music we’re not familiar with its a beautiful thing. Sneaking under the fence at the 11th hour is this split 7″ all the way from Ft Lauderdale. Pressed on marbled vinyl and blood splattered sleeve with free stickers I’m in all ready before the needle drops. Death Lottery kick it off with an uncompromising wah infused slab of garage punk with wild and reckless solos on opener ‘Cease + Desist’ and it just takes off from there. ‘Trespassin’ is up next and sounding like a really lo-fi misfits horror track its a great track brief and to the point much like all three of their contributions. As for Hardship Anchors, theirs is a slightly less chaotic contribution that doesn’t sound like its driven on adrenalin and has more of an early Replacements vibe happening Evan Dando when he way young hungry and fueled on punk. the final track ‘Fake’ has a bit of Buzzcocks going on which is always welcome round here. Check em out on their Bandcamp page and pick it up.
The Kopek Millionaire (Johny skullknuckles) – Hey Mikki (self Release) Bandcamp When you’re waiting around for your band to get their shit together and you have the means why not fuck around with a classic slab of pop music. Johny gives this 80s pop classic a right roughing up I’m sure you’ll agree. Toni Basil would no doubt be blushing at the compliment paid by Johny who calls it a cover of a cover and a silly one at that. Not that we agree because we love some sloppy rock and roll. Well done Sir now get that band sorted and lets have the new record.
Beechwood – ‘I Know It’s Not Right’ (Alive Natural Sound) Ok we have to sign off somewhere so why not sign off with a direct line of heritage handed down from Johnny Thunders in the shape of Beechwood. They have that NYC cool and Gordon Lawrence sure knows how to channel his thoughts into his music. Regaling a dark time in his life through the song Lawrence said he was happy with the outcome of such a dark experience explaining how he was in such bad shape when he wrote the song, he described himself as broken but he was still able to believe that things would get better; and this was a reminder of that dark time. It’s haunting but mourish and Lawrence certainly has charm and charisma in his songwriting, Not an instant single for sure but one you should check out.
The band are about to embark on a quick tour of Europe with a couple of UK dates added.
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