There’s a whole lotta shaking going on down on Neverland Ranch as this three-piece explosion of the blues, Rock n Roll, Experimental Rock, Post Punk and whatever else they decide to throw into the pot.

Guitarist/singer Tex Mosley: one-time alumnus of Philly’s legendary Afro-punks Pure Hell is driving the bus at NRD There’s a healthy dose of minimalist R & B happening on ‘Fat Back’ that reminds me of Vintage Trouble when they weren’t performing ballads mixed with a shade of Jon Spencer Blues Explosion. ‘Aqua Velveteen’ carries on this journey with the sparseness growing and getting more trippy. Pat Todd cited Suicide as an influence when describing the band’s sound and I hear that here its certainly not frantic like Jon Spenser but the use of feedback and the blues is all here. It’s like the morning after the night before – you can’t remember much but you sure as hell know you had a good time.

The band can also rock it up, ‘Liquor Store’ has some street-wise attitude that sounds like they’re riding the local bucking bronco with a beer in one hand and the other hitting a snare drum without a care in the world. It’s a simple time-honored formula this Rock and Roll when done right. Knocking out a rhythm and putting some words down before breaking it up with a whacked-out solo that’s trying to tame that fuzz n feedback before it’s too late.

The guys in the band are just rolling with it and kicking out the jams on ‘Solid Monkey Blues’ playing it straight no bullshit I’m sure Iggy would approve.

The band operates without a bass player and figured The Cramps didn’t need one (most of the time) and neither did the Gories so NRD gave it a miss as well.

Side two kicks off with an instrumental jig before ‘Boys Don’t Cry’ brings in layered gang vocals over some big melody and some cool lyrics to reflect the laid-back tempo that is almost horizontal. ‘Hen House’ gets a little funky and loose and has the same vibe early Lenny Kravitz once possessed when he was letting love rule. These cats have got the chops to pull this off you know, the album grows when you let it breathe and drip into your brain.

‘Stigmata’ has the feel that you’ve heard this before laying down some ’80s Keith Richard chops on that riff if he floated down a different path. ‘Knee On My Neck’ is heavy and is one of the highlights of the album that to be fair has plenty of highs. The record signs off with ‘I Believe To My Soul’ which is a brooding number with some excellent vocals and harmonising on top of a really strong arrangement that again doesn’t overcook the instruments and keeps it to a minimum or just enough to deliver the goods something Neverland Ranch Davidians do over and over again on this excellent album. If you’re looking for a pointer then I’d suggest you look no further than the Buy Here button below you won’t regret it.

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Author: Dom Daley

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Fronted by former Role Models leader Rich Ragany, the last few years has seen the Calgary, Canada born and now UK based songsmith build up quite a reputation with his band of rock n ’roll trailblazers, The Digressions. With musicians that include Andy Brook (celebrated producer, SHUSH), Gaff (Glitterati, Dedwardians, Desperate Measures,) Ricky McGuire (UK SUBS, The Men They Couldn’t Hang), Simon Maxwell (Role Models, Yo Yos) and Kit Swing (Mallory Knox, Seven Days And Doesn’t Die), the band won over the hearts of many in 2021 with their critically-acclaimed ‘Beyond Nostalgia & Heartache’ album, gaining considerable airplay on BBC Introducing, and rave reviews and features from the likes of Classic Rock, Vive Le Rock, Louder Than War and Powerplay etc.

Sharing stages with the likes of The Lemonheads, Warrior Soul, The Men They Couldn’t Hang, Whitfield Crane, Ginger Wildheart, The Professionals, Steve Conte (New York Dolls) as well as packing out London venues in their own right, all this deserved attention has led to the band signing a deal with Barrel And Squidger (who have released music by CJ Wildheart, Massive Wagons, members of Status Quo and Sex Pistols) and are set to return March 3rd with a brand new album titled ‘What We Do (To Not Let Go)’.

Today, the band have launched the pre-order for the album and are giving people the first sweet taste of its charms in ‘One Last Thing To Prove’ – a song that lulls the listener into a false sense of security with a beautiful piano and simple chord refrain before out of nowhere the Digressions kick in with a Stooges worthy rock n’ roll riff, complete with ‘Raw Power’ one-note piano stabs. But the vocal harmonies that the band are renowned for lift the song far beyond any low rent garage vibes, and the song soars.

“One night out in Camden I ran into an old friend Pete,” explains Rich, remembering the origins of the song. “We go way back to Canada He’s a sound tech for some pretty amazing acts. Anyways, I see him, and his arm is in a sling. I ask him what he’s doing after. He says he can’t be out late as he leaves in the morning to hit the road. “With a broken arm man??” He replied “We all got one last thing to prove…”

It’s a taster of an album that is crammed full of soaring melodies and the kind of rock n’ roll that can take on many different moods, sounds and styles. For ‘What We Do (To Not Let Go)’ that band went for a different approach to its predecessor…

“As ‘Nostalgia….’ had that wide-screen depth and cinematic feel,” explains Rich. “I decided to lay down a new approach. Gone were layering guitars and keys, in with punchy one takes… everyone getting one shot… everybody gets one job (Gaff is lead guitar, Kit rhythm for example no layers… just the parts), solos are solid takes and not pieced together. This to me would ensure that everyone’s personality would shine right through while making the songs far more immediate and vital. If it’s one thing I’ve learned while being incredibly lucky to work with the Digressions, it’s that they have a ton of personality.

“After writing, recording our ‘Beyond Nostalgia And Heartache’ album through the pandemic I felt we were on an incredible creative roll. So just before the release of Nostalgia I booked time again with Andy at The Brook Studios in Wallington Rock City. I had the songs and the band had grown into something very special. We had to keep going, which felt natural. What you get is a muscular yet melodic, anthemic rock n roll album. A new way of telling our story. One I can say I am so proud to be part of.”

‘What We Do (To Not Let Go)’ is out March 3rd via Barrel and Squidger Records and is available to pre-order HERE.

Album release parties are confirmed for March 3rd at The Parish in Huddersfield and March 4th at The Camden Assembly in London. 

Also, the band have just secured the main support slot on The Southall Lawless Stage of The Call Of The Wild Festival on May 27th. More dates across the country are being added.

Rich Ragany And The Digressions are:

Rich Ragany – vocals/guitar/drums
Gaff – lead guitar
Kit Swing – guitar/vocals
Andy Brook – keyboards/vocals/guitar
Ricky McGuire – bass
Simon Maxwell – drums/percussion

Rich Ragany And The Digressions online at:

BANDCAMP

FACEBOOK

TWITTER

Australia, Australia, Australia! It seems that anything top-notch is coming from afar these days and powering through 2022 “Down under” has delivered time after time and it seems flipping off the year was the MO of Melbourne Rockers The Stripp.

From the great cartoon artwork, it’s obvious these rockers are all about having a good time and rockin’ out. Ten tunes between two and three minutes long keeping it short and sweet. They kick things off in style with a rollicking title track that puts the foot down and goes for it. You don’t need to concentrate to hard just know the title and shout out ‘Aint No Crime To Rock N Roll’ with your thumbs in your bullet belt and your head nodding back and forth. It’s part Scandi rock part old-school hard rock and a heap of Aussie attitude and a little bit of Bosh!

‘The Bitter End’ has a stinking attitude as the riff just cuts through the solid rhythm. Hold on a gawd damn minute it’s the backbeat of Joan Jett meets the bass grunt of Quatro that’s shoved down your ears on Ghost Town. I’m hearing comparisons of Sally Cato and her Smashed Gladys going on here. The songs come thick and fast and sound like they were born out of playing shitty venues left right and center and grinding out a style and sound born out of who they are and all they know.

The fact that Lux Noise are handling the record in Europe makes perfect sense and they should get over here pronto and hit the road with Bitch Queens and slay some audiences around the globe. ‘Witch Hunt’ has got some swing Whilst ‘Back In Action’ tunes into some fine Action Rock.

There’s no reinventing the wheel here and that’s not what The Stripp are about – They’re about picking up the blazing baton and carrying it forward – making a noise and doing it well and hopefully turning some young pups onto some good old loud hard rocking music. There’s no time for a power ballad its just foot-on wedge rockin’ out from the top to the bottom finally signing off with the shuffle of ‘Don’t Feed Me Your Lies’ with its hard n heavy tip of the hat to those who’ve gone before them and blazing a path to oblivion. Rock hard brothers and sisters and turn it fuckin’ up! The Stripp are in da house drink up.

Buy Here (Down Under) Buy Here (Europe)

Author: Dom Daley

The Stripp Facebook

The Hold Steady have announced the release of their ninth studio album, The Price of Progress, arriving everywhere on the band’s Positive Jams label via Thirty Tigers on 31st March 2023. It will be available digitally as well as on CD, standard black vinyl, translucent green-colored vinyl (band store), metallic gold (indie retail), metallic silver (Vinyl Me, Please), and white (Rough Trade). Pre-orders are available now. The Price of Progress is heralded by today’s premiere of the first song, ‘Sideways Skull’, available now at all DSPs and streaming services.

“Sideways Skull is a rocking song about rock and rollers,” says frontman Craig Finn. “In this case, they’ve been taken out of the game for a bit of rest, but still keep their dreams alive as they discuss past glories. We loved the big sound of this when Tad Kubler brought it into the band, and the studio performance of it felt especially joyful. We’re happy to put this forth as a first look at The Price of Progress, and the album’s title even comes from this song.”

Pre-order The Price of Progress here

Photo credit Shervin Lainez.tif

THE HOLD STEADY – UK LIVE 2023

MARCH 2023

Mar 10 – The Weekender at Electric Ballroom, London, UK
Mar 11 – The Weekender at Electric Ballroom, London, UK
Mar 12 – Colours Hoxton, London, UK (SOLD OUT)

Throughout the whole of January RPM Online are giving you a Dwarves fact and video every day of the Motherfuckin Month – Seeing as they’ve just reissued all their albums on vinyl with extras it seemed only fair.

Were starting with the handsome Blag The Ripper and his alter ego Ralph Champagne and the lounge banger ‘Lolita Goodbye’ Buy the album Here

Fact 1 – THE DWARVES play music that crosses all rock genres including hardcore, garage, punk, surf, noise, death metal, experimental, industrial, hip/hop, grunge and good old-fashioned pop. Even their modesty is legendary.

Blag Dahlia- ‘Introducing Ralph Champagne’ (MVD Records)

He’s a naughty boy is that Blag Dahlia, Blag The Ripper or Ralph Champagne. With a cheeky smile and probably a packet of sweets, Blag goes lounge with this latest offering. Whilst it was released in late 2022 I wanted to save my review and use it as part of my January homage to the Dwarves and all things Dwarve. I cooked Christmas dinner with Ralph on as the go-to lift music or Shopping Mall tunage if you like. I was going to baste the bird with beer or Jager and then I’d have blamed Blag it would seem like the right thing to do.

Drop the needle at the top and Blags dulcet tones break through like a cheeky schoolboy as ‘It’s Over’ fills the air with a cheeky smile but its ‘Contraband’ that sent me all in from the softly spoken verses to that insanely catchy countrified singalong chorus.

Hell ‘Lolita Goodbye’ is classic Blag – Americana, outlaw country, ’70s pop, it’s genius. you could play it in front of your gran and she’d never know. Written in lockdown Blag the crooner hit the jackpot as he runs through the gentle fields of ‘Summer Rain’ with his Roger Whittaker whistle and gentle breezy vocals much like the outlaw country of ‘Don’t Tread On Me’. ‘Elementry Love Song’ is that 70s pop song the kind you’d hear at the Diner before the Fonz walks in.

He signs off with the balladeering of ‘Shes All Mine’ with its cheeky lyrics and chorus to die for – of course we saw it coming its Blag The Ripper the filthy swine. Gift it to someone who hasn’t got a clue or just simply play it on the school run Blag rocks even when hes not Rockin’ Welcome to the fold Ralph you are most welcome.

Buy Here

The first solo album by Tyla after the demise of one of the 80’s finest UK bands The Dogs D’Amour. Finally after so many reissues and remakes for vinyl this champion finally gets released on vinyl without any make overs or rerecordings. Now that might just please many Dogs fans who hanker back to a time when the classic Dynamite lineup ruled the airwaves.

You have to hark back to its original release date in ’94, (Remember dial up folks? When there used to be a chat room on a sunday of hardcore Dogs) when it only came out on CD and in the UK. It was right after the split of The Dogs D’Amour.

The album contains tracks featuring The Dogs D’Amour members, as well as a list of Tyla solo acoustic tracks. Well, this one comes pressed on vinyl with a gatefold sleeve and it’s been remastered for vinyl. Spread out over two delicious records it kicks off with the ragged glory of ‘Ballad Of Noone In Particular’ which is a slice of classic Dogs – barely hanging on by a thread its a reminder of how magical these guys were together when they entered a studio or a concert venue. Matched only by some of the best songs they wrote and recorded together since the early day’s songs like ‘All You Had’ are blooming marvelous. The Soulful wheeze of ‘Bloody Mary’ bares the band’s soul for sure with the backing vocals and keys adding touches of gold dust across a record that takes me back in time had the Stones written and recorded this the music press would have been all over it like a rash heralding a return to the glory days.

The guitar lick on the whistful meander through the rainy streets of old London town that signal the intro of ‘Where Were You’ is heartbreaking with Tyla hitting a high in his songwriting and lyrics – simply majestic. The organ wheeze of the Faces like ‘Little Things’ signals a howlingly good melancholic time that the band never quite reached when the band split and solo music appeared. Nobody did the blues quite like the Dogs.

Then ‘The Adultra’ comes in on a lick and a promise as Tylas vocals are full of heartbreak and soul as the acoustic balladmonger takes center stage for what turned out to be his finest collection of material post-original Dogs in my eyes. What follows is a master class in songwriting and solo balladeering no question. ‘Throw It All Away’ would have blown up had it been on the acoustic ‘Graveyard’ EP the band had delivered some years earlier. Truly haunting and epic in every sense the arrangement is immaculate as is the delivery. Simply spine-tingling.

I loved the simplicity and the storytelling of ‘The Town’ Tylas vocals never sounded so good and it has clearly stood the test of time. the piano and harmonica hit every note of your heart as they vibrate through your body. Tyla has had his moments throughout his career but not as consistently as this. this has no low point throughout be it the Dogs song or the piano bombast of ‘Spirit Of The Jag’ or the Blues of ‘The Whisper’ and ending with the spoken words of ‘King Of The Street’ and then silence before a certain duet gives you two black eyes and a broken nose.

As the near-perfect solo album has only been enhanced as it gets immortalised on wax with the artwork getting the sizing it deserves and the expansion of the Dog’s tracks adding that cherry on the icing on the sweetest cake ever.

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Author: Dom Daley

A first time pressing on vinyl for this the twelfth Album released by the former Thin Lizzy guitarist. Gary Moore played with a style and passion for his craft that was heralded around the world for his style and songwriting ability. His virtuoso guitar playing and soulful voice being loved far and wide and his premature passing has been sadly missed by fans and musicians around the globe and from all styles.

Having played in numerous legendary bands including Thin Lizzy and Skid Row, alongside his own solo career, Moore is regarded as one of the most influential Irish musicians of all time. Having been honoured by both Gibson and Fender with signature guitars, the Northern Irish star is still regarded as one of the best guitar players of all time. Its funny when long after their passing people still crave the back catalogue of revered artists like Moore so it’s no surprise that ‘A Different Beat’ gets the vinyl treatment (finally) spread over two records it also includes a remix of ‘Can’t Help Myself’ (E-Z Rollers remix)’.

A Different Beat’ sees Moore exploring a new direction, in this case combining his love of the blues and his guitar work with contemporary dance beats. Fusing blues and dance music ‘A Different Beat’ stands as the boldest thing Moore ever did. A move too far for some and one giant step for others. From the off the distorted guitar work makes way for a beat more akin to the Happy Mondays guitar based dance music rather than trad Blues. I know Moore loved some Hendrix and there are moments throughout this record that have you imagining that this is something Jimi might have tried had he not left this earth as well it’s not like he hid his admiration for Hendrix because he funks up ‘Fire’. Moore also had a better singing voice than he possibly got credit for and had a fair set of pipes that are well worked on songs like ‘Lost In Your Love’. and his take on ‘Fire’.

Moore loved to turn it up but he also had a softer gentler touch. ‘Worry No More’ is more laid back but whilst pushing boundaries like the pure funk of ‘Fatboy’ with all its tricks and grooves. like on the I’m sure he’d have chuckled to himself when making this Marmite record but having it pressed on Vinyl might be the opportunity for fans to look back and show some love for a real guitar legend who really did mess with the Blues.

Buy Here

Author: Dom Daley

When Grunge broke big in the 90s the UK joined the party with bands like Headswim who might not have gained as much media coverage as say Bush who also came from the UK but Headswim had a big part to play in the scene in the early to mid 90s. More than just a UK Grunge band they had a decent stab at topping the alt scene as well with huge selling bedfellows like ‘The Bends’ coming out. There was certainly an element of that in their sound as well maybe more so after ‘Flood’ was birthed in to the world.

The Band released two albums, ‘Flood’ and a few years later they followed it up with ‘Despite Yourself’. Trapped Animal Records have been given the honour of reissuing ‘Flood’, repackaged, with a bonus disc covering some additional pieces. With a dark and anthemic sound ‘Flood’ captured the hearts of the UK scene Sure they took their lead from the likes of Pearl Jam Headswim stood on their own two feet and if you need reminding of how good they were then this is the perfect reissue.

Maybe the bands problem was they were not Grunge enough nor were they heavy enough to head swim down an Alice In Chains route and they weren’t Britpop enough either and fallign between several stools can be tough but it does happen.

Maybe now with some distance from the mid 90s the time is right for a resurgence purely on the musical terms it would be only fair wouldn’t it?

Anyway, be it discovering a new band or revisiting an old lost favourite this has its draw with a bonus disc with some added features, including tracks from Radio 1 Rock Show sessions and some deep cuts, b-sides and added extras. To be fair this has gone the extra mile as far as reissues go from the coloured wax to the heavyweight feel of the gatefold sleeve it’s a thing of real quality those BBC Rock show bonus cuts it’s a real labour of love and well worth shelling out for. A really good album now made even better. Buy it!

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Author: Dom Daley

Continuing the fine reissue of Classic Slade albums on various splatter vinyl the fantastic ‘Sladest’ is the latest hot off the pressing plant to be reissued on splatter vinyl and for many it’s one of the band’s finest records. Not content with being one of the decade’s biggest-selling bands and giving possibly the most iconic Christmas office party banger Slade released 6 hit albums, including three UK No-1s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era.

This album was first released in 1973, ‘Sladest’ belched out some of the band’s most iconic songs including the barnstorming ‘Cum On Feel The Noize’, ‘Mama Weer All Crazee Now’ and ‘Coz I Luv You’. It was possibly the album that Noddy came into his own with that iconic rasping voice that has been revered ever since and spawned many cover versions.

Many of these songs still stand up today as groundbreaking and iconic, even casual fans can sing along to the chorus of the classic singles that have stood the test of time. Having these albums repressed means you can retire your crackly copies or the ones handed down by your big brothers or dads and get your thumbs in those belt loops grab your girl and get wild wild wild again. Personal favourite Slade songs have both been included on this record the magnificent ‘Gudbuy T’Jane’ and ‘Coz I Love You’ showing that they weren’t just a hell-raising rowdy Rock band, well, not all the time and they could mix it up. If you only put one of these reissues on your Christmas list make it this one and if you’ve been particularly good you could add that live box set we reviewed last month just for good measure. Oh and just buy it for those haircuts, they don’t make em like that anymore that’s for sure!

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Author: Dom Daley

limited edition coloured vinyl 12” ‘Merry Xmas Everybody ’https://slade.lnk.to/MerryXmas12snowflakePR on 25th  November plus continue official deluxe vinyl album reissues series   with ‘Crackers – The Christmas Party Album https://slade.lnk.to/crackersdeluxePR

FAKE NAMES ANNOUNCE NEW ALBUM

‘EXPENDABLES’ OUT ON MARCH 3rd

 VIA EPITAPH RECORDS

Today, post-hardcore dream team – Fake Names – announce their second studio album, ‘Expendables’for release on March 3rd, 2023 via Epitaph Records.

The band is comprised of members Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The [International] Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and newest addition Brendan Canty (Fugazi, Rites of Spring). It’s the latest exchange in a musical conversation that spans four decades, but instead of rehashing the past, ‘Expendables’ is a reinvention that sees the band dialing back the distortion and leaning into the melodies.

Today they share lead single “Delete Myself,” a high energy craft cocktail comprised of Punk and Garage, finished with unforgettable riffs.

LISTEN TO “DELETE MYSELF” NOW

Forming in 2016, Brian Baker describes Fake Names as a “mutual admiration society,” saying that once the five members got in the same room together, it felt as if they had already been in the band together for years. “There’s this intangible energy, a clairvoyance that comes from our shared experience,” he explains. On ‘Expendables,’ the result pairs their unparalleled pedigree with a pop sensibility that’s slightly unexpected and wholly satisfying.

Melding 70’s U.K. punk with power-pop and classic rock, the Fake Names’ self-titled debut album (2020) was actually a demo that Epitaph founder and Baker’s Bad Religion bandmate, Brett Gurewitz, wanted to release as is. After releasing a three-track EP in 2021, the band enlisted producer Adam “Atom” Greenspan (IDLES, Yeah Yeah Yeahs) who helmed a surprisingly cleaner sound for Expendables. Baker says, “The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent.”

There’s also an economy to these songs that’s rooted in the fact that they were recorded in the span of a week, eliminating the option to add excess instrumentation or arrangements. What ensues is an album that retains the members’ purity of vision in a strikingly refreshing way.

Speaking to lyrical themes, Baker discloses, “In general, Dennis writes about revolution, and Michael and I write pop songs. I’m amazed at how it works, but somehow it strikes the right balance of salty and sweet.” This imagery is paralleled in the album artwork which Baker describes as “70’s dystopian” and features an eerie army of mannequins set against a cold urban backdrop. That dichotomy of lively music and bleak imagery is an important thematic element of Expendables because the album is more than just a collection of catchy songs: it’s an artistic statement about our own impermanence.

For more information on Fake Names, visit:

WEBSITE | FACEBOOK | INSTAGRAM | YOUTUBE

Fake Names – Press Photo by Danny Clinch