At last! One of the most anticipated albums this year, chez moi and at RPM headquarters, no doubt. This was an immediate preorder, and, as ever, Split Dogs don’t disappoint. You already know the opening number ‘Be Somebody’, which is followed by the “Rick Parfitt on bad speed” rhythm of ‘Born Too Loose’. Very tasty, though I suspect some diehards aren’t sure about the band embracing some Quo/DC riffs. Too bad for them, because the Dogs haven’t lost anything. They know who they are, and that’s why it works.
‘Breaker’ is 1 minute 30 seconds of pure rock, undiluted joy. If it doesn’t get you moving, you’re already dead, baby. ‘Get The Look’ should please the hardcore crew, and the band are obviously having a ball throughout. ‘Speed Demon’ sounds like a classic riff by now. Most traditional ‘rock’ bands could learn something here, few of them have this many addictive riffs. In fact, it’s so good, you could imagine they were Australian.
And ‘Leave It Alone’ would make Bon Scott smile. The rhythm section is tighter than ever, and Harry’s vocals are fabulous. ‘Shake Sum Action’ (not that one) blasts by in just under 2 minutes, and ‘Rock N Roll Business’ still sounds magic, complete with piano rolls. One of the best songs of the year, for me. ‘Mama Said’ is dangerously close to 4 minutes long, but you won’t notice.
You should also be aware of ‘Suffer’ by now, so let’s move on to ‘I Wanna’, which comes on like a punkier Hives. The energy levels don’t drop. There’s some ‘Dirty Denim’, which reminds this listener of The Sick Livers. Yes, I know that Ginge’s denims are immaculate. Not ones to end on a ballad, ‘Power Out’ clouts you one last time. I’ve nothing against shorter albums when they’re this good. An absolute belter from start to finish.
Not since Gay For Johnny Dep or Jodie Fasters were kicking up a stink on my stereo has a band had such a great name as The Mary Tyler Whores – Somewhere between sleazy early pre-appetite Guns n Roses and The Dictators. TMTW are kicking up a shitstorm, and boy, do they know it.
Hailing from the swamps of Florida, this five-piece, ten-legged groove machine are on it from the opening riff of ‘American Sex Fiend’ to the closing chords and cymbal fizz of ‘World Against Me’. That opener has a filthy Zodiac mindwarp riffola opening. It’s all Billy big balls and struttin like they’re something special it screams of a punk rock party, and we’re having the best of times doing this, and if you don’t like it, go F yourself; we have a party to attend, and besides, we’re here for a good time, not a long time, so hurry the fuck up.
Hells Bells, the third track, is a sleazy, hard-rockin ‘ take on the Lords Of The New Church classic, less dark and gothic and certainly stripped back and loud ‘Dance With Me’ wasn’t a song I had down as being covered anywhere or by anyone, well done, gents, top tune. It’s certainly not as good as the original, but I’ll take it, when any band takes on such a magnificent track, I’ll get behind it for sure.
‘Savage World’ is a party on its own, and why wouldn’t I approve of that? That’s sort of the MO for a while on the record. Make a band and come on part Guns, part Duane Peters, and part Handsome Dick is sure a recipe for an interesting record. There’s a lot of music to plough through with fifteen songs on offer it’s certainly value for money ‘Edge Of Insanity’ is almost a Rancid-sized skank, but it never goes there instead, it heads off into a punk rock gang vocal charge off by the chorus. I love the horns honkin’ out ‘Clamjacked’ it’s a real blast, and that’s not just the horns it’s a rowdy step to the left, and I love it.
To be fair, there’s a lot going on all over this record that sounds fantastic, courtesy of Greg Hetson (Circle Jerks/Bad Religion. It’s a bright-sounding record, and the bigger riffs are elevated and put right in your face, ‘Isolation’ being a great example that also has a filthy Bassline clunking away throughout.
I guess with fifteen songs mostly going full tilt you’re wondering which one is the power ballad. Well, worry not, folks, but there is some acoustic guitar work on ‘Phantom Love’ as the opening sort of crashes in before taking you down a twisting lane that is loose and meandering. Before we end the record, there is time for another cover, and this time they fuck with your head as ‘Whip It ‘- yeah, the Devo tune has the Mary Tyler Whores treatment to add another string to the bow.
The album closes on the collaboration with Riff Raff and Mike G as ‘World Against Me’ is the final offering from a very entertaining record. When it’s on it’s right on it, and that’s a great place to be. Get on the Mary Tyler Whores; they aren’t just a fantastic name they have the chops.
What a difference 9 months makes. Back in January, I caught these young upstarts, The Molotovs, up the road at The Lending Room, it has a capacity of 200. They hadn’t even released an album yet. Now, the London-based trio are in the midst of a (mostly sold-out) UK tour promoting their debut album ‘Wasted On Youth’. This venue is an upgrade from The Wardrobe due to demand; it holds around 1000. The Molotovs are blowing up, and for good reason.
Siblings Mathew & Issey Cartlidge have been gigging hard for a few years now and deliver a ferocious Mod-tinged racket that’s part Weller, part Gallagher. The debut album is choc-a-bloc with tunes and the follow-up ‘Welcome To Urbia’ is already in the bag.
The room is packed by the time they walk on and blast into ‘Johnny Don’t Be Scared’. It’s an older song, and not even on the debut, that’s how confident they are. Dressed sharp, with a bleached buzz cut, singer/guitarist Mathew may still be a teenager, but his vitriolic vocals and ringing power chords are those of a seasoned punk rock pro. The years of constant gigging have paid off in spades. Stage left, his older sister Issey is a haze of blonde hair and flailing limbs as she pulls perfect rock n’ roll chic poses, the sort only years of bedroom mirror action can create. Behind them, drummer Noah Riley bashes like the bastard son of Keith Moon. It’s all going exceedingly well, The Molotovs are mesmerising to watch, and a photographer’s dream to shoot.
Anthemic single ‘Rhythm Of Yourself’ follows, proving these upstarts have the teenage kicks needed to thrill the youth of today. If only the Leeds crowd could return the energy the band put out. I know a Leeds audience is notoriously hard to win over, but it seems somewhere along the way, we have lost the ability to lose ourselves at a gig and actually have fun.
The Molotovs have made the transition from small stage to large with ease. The trio look comfortable up there, they play tight and have buckets of energy. They look like they’ve been doing it for years. The hour-long set covers most of the debut and a selection of future hits from the upcoming album. Brit Pop-tinged rockers like ‘Daydreaming’ and ‘More More More’ thrill, and the more emotive ‘Geraldine’ with its quirky backing vocals is a set highlight. Recent single ‘Urbia’ might not have the instant feel of past singles, but it bodes well for what is to come. Its B-side ‘Down At The Café’ also gets a live airing, it may be a better song, sounds like early Antmusic to me.
Modern radio-friendly anthem ‘Today’s Gonna Be Our Day’ and the punked-up energy of ‘Get A Life’ wake the Leeds massive, and ‘Wasted On Youth’ builds to become a massive beast.
The main set closes with the obligatory raw and punky take on ‘Suffragette City’ before they return with newbie No Time To Talk’ and closer ‘Come On Now’.
The Molotovs are an exciting proposition. A band who have the songs, the energy and the aura of a real rock n’ roll band. Mathew’s ability as a writer to blend vintage Mod sounds with Britpop and deliver it with a punk energy makes most of his contemporaries look beige as fuck. If The Molotovs’ upcoming second album lives up to expectations, then they are destined to be one of the bands of 2027 and beyond. Remember where you heard the name first.
Former NY Loose frontwoman Brijitte West returns with a brand-new album, Brijitte West and the Greenowskis.
Recorded in Italy with an all-Italian band, notably Wilko Zanni, guitarist and singer with Italian rock institution Rats, and Lester Greenowski, Italian singer, songwriter and bassist, the album features 14 tracks, including 12 new songs, a cover of the Dead Boys, All This and More, and an acoustic version of an NY Loose deep cut, The Luckiest Girl.
Brijitte West says, “A lot of people think of me as an omniscient character – I’m sort of there, but I’m not there. This new album, and particularly the single Doin’ Alright, is me saying: I’m still here, I’m still rocking. I’m still turning up the mains and breaking free from the chains that held me down.”
West first made her mark in New York’s Lower East Side, drawing on the explosive musical aesthetics of the Ramones, the Stooges and the wider New York punk scene. NY Loose developed a sound and persona that fused garage rock and punk with a glamorous edge, finding a loyal following among punk, glam and rock ’n’ roll fans that remains strong today.
Highlights of the new record include a track inspired by those early years: My Lower East Side is a vivid recollection of the gritty NY club scene, the excitement and the relentless competition between bands. Brijitte says, “There were poster wars. We would have to hit the streets at 3 a.m. because you had to be the last one to put your poster up, otherwise it would be covered over by other bands. We spent what money we had on rehearsal spaces and instruments, so I remember our shoes being held together with duct tape.”
West turns inward with Sorry I’ve Been a Stranger, a song about reconnecting with someone who once meant a great deal to her after years apart. On Don’t Hurt Yourself, she tackles the difficult subject of self-harm: “It’s a terrible illness that doesn’t get talked about enough – and one that affected someone very close to me, so it was a topic I really wanted to write a song about.”
The album closes with Nobody Won and The Luckiest Girl. Nobody Won looks back at the difficult final years of NY Loose, the tensions within the band and the brutal reality of the music business. West says, “It’s about how things were not working for us. It resulted in no one doing anything for a very long time because we were battle-scarred from everything. There was no prize.”
But for Brijitte, rock ’n’ roll will always be in her blood. Her lyrics remain a form of self-therapy and a defining strength, balancing sass and swagger with vulnerability.
Brijitte says, “In a lot of ways, I feel this is the best album I have ever made. It feels like the NY Loose album that never was, yet a seamless collaboration with the best band I have ever worked with.”
Brijitte West and the Greenowskis are:
Brijitte West - Lead Vocals Wilko Zanni – Guitars, Vocals, Percussions Lorenzo Vacondio – Guitars, Vocals Lester Greenowski – Bass, Vocals, Piano, Lead Vocals On Brutta Bimba Bella Davide Furlani – Drums Nino – Pedals and Noise
Imagine a band who plays their instruments drenched in sweat through overdriven amps, influenced by a whole heap of goodness from The Wildhearts through the Ramones via some prime time Dirtbox Disco and a having a real blast whilst doing so. Horns a honkin’, pianos tonkin’, whilst the band are whipping up a storm, using melodies to sing your hearts out to that’s about where I hear Dave Delinquent and his iou’s.
The album is the emobiment of all kiiler and no filler as they go through the handbook of genres and influences and toss it away and just go with their gut and what comes out of their hearts and heads.
Ten tracks on offer from the opening razor sharp ‘Rocksteady Girl’ through the melodic ‘Alleycats In Love’ complete with its horn honkin gold. The hooks are aplenty and they use every bit of catchiness they can muster. Sure its not original but so what they are knockin out killer tunes at every turn it sounds like a party on wax ‘Everybody Loves You’ is excellent and the first half closer is ‘Shame Of My Youth’ with its Big Country influenced melody which I didn’t see coming but is a most welcome shift of gears.
Side two just keeps on rockin throwing up catchy melody and riffs all over the place its like a sensless things meets The Wildhearts overload and I do love the saxophone taking it into different directions when you wern’t expecting it. ‘Not A Fan’ leaves just the uptempo rocker ‘Todays A Drag’ to close the album off and what a great way to sign off. If you want an album packed with hooks and catchy melodies then look no further Dave Delinquent and his IOU’s is here to prove that rock n roll isn’t dead its alive and kickin out the jams. Buy it!
The Bunnymen seem to have been around forever and continue to trudge the circuits, plying their brand of post-punk goodness, and McCulloch doesn’t seem to age. With this the band bazillionth release they’ve continued to evolve and turn out great guitar pop, with Apples containing eleven intriguing and enthralling tunes weaving their way into your noggin and leaving their mark, beginning with the vibrant ‘Take Me By The Hand’ that has the superb, inventive guitar work of Will Sergeant at the forefront of this record, the band’s first in over a decade. It also features much-missed Blondie sticksman Clem Burke adding his considerable talent to proceedings, driving this record on with his flair and style.
This seems to be grittier than previous offerings. Sure, there are some subtle strings dotted around the record, but it seems more guitar- and bass-driven, with the first single ‘Brussels Is Haunted’ lighting the way with its sprightly tempo, throbbing bass line and riff-based guitar breaks whilst Ian peels away the years with his distinctive tone and delivery. It’s nestled next to the gentler ‘I’ll Be Your Sunshine’ with those aforementioned lush strings layering the tune.
‘Hijacked’ has a thumping Bassline driving the song with the minimal chorus whilst Will meanders and weaves his guitar chops in the available quiet, filling every space with a rush of energy. Great Stuff. There seems to be an uplifting, upbeat feel to the album, with a few shaded areas where classic echo-drenched vocals fill the void, ‘An Unstoppable Force’ being a great example of a classic Bunnymen slower song. It’s a very hopeful-sounding record, ‘The Light That Surrounds You’ sounds youthful and like something that could have been written around the ‘Porcupine’ days. There’s an innocence about it that is both charming and engaging.
Bring on the dancing horns for ‘Lab Rat Ran’ which has the sound of a top live song in a packed uni hall. The other thing I should mention is that this album has the feel that it’s stacked with potential singles all over the place so many songs that would, in days gone by, have ruled the singles charts. Great songwriters never lose it, and the Bunnymen have a pair of em. Great song and great saxophone blasting out. ‘Asimov’ has a grunt about the Bassline driving it on, and it’s only then I notice this is track number ten on the album it’s flown by. Leaving only the kiss-off of ‘We Prayed In The Dark’, a more leisurely song that’s doing its own victory lap to close off a rather splendid album. I always hope for a great record from bands who have grown older with me, but like The Mary Chain, The Bunnymen seem to have delivered a real diamond when not many would have given them the accolade they probably deserve.
If you’ve ever thrown yourself around to ‘The Cutter’ or marvelled at ‘Dancing Horses’, then you’d be foolish to pass this latest offering by. Echo And The Bunnymen have delivered one of 2026’s finest alternative records, no question about it. Buy it!
Gary Marx is best known as the co-founder of The Sisters of Mercy, with singer Andrew Eldritch. Marx was there from day one. His trademark musical contributions provide many of the highlights on the Sisters’ early recordings. After parting ways, he went on to enjoy success with the band Ghost Dance, before they split in 1990. Since then, Marx has steered his own peculiar course as a solo artist, with this, his second offering, in which he comes full circle with 72 minutes of music, rounding off a symbolic coincidence. Marx never strays far from his influences from the 70s, the likes of Bolan and his T Rex and other glam rock luminaries who dominated the music scene for so many impressionable youngsters. This new album is spread over four sides of thick plastic, and while Gary alludes to each side having particular traits, he also points out it’s not in any way a concept album.
After the intro and soundscape of the opener, it’s more upbeat Roxy meets Bolan with the handclapping and whooping and hollering of ‘High Brighton Rock’. The album has a summer feel to it, with plenty of saxophone and swing, as the record is like a great big beaming smile, void of any baggage or stress and just wedged to bursting with top pop rock songs. Marx has a knack for knowing how to write sugar-sweet, rough-around-the-edges pop tunes in a similar vein to Nick Lowe and several other great songwriters.
There is a lot of music to get through, but just let it play and wash over you. On occasion, it dips a toe in pure pop like ‘Hang Up’, which reminds me of the lighter side of the Boomtown Rats. If modern kids wanted to know what it was like in the 70s diving into the TOTP albums and how it felt, then give em a blast of this bad boy. The title track begins with some cinematic spoken words before bursting out with a groove The Happy Mondays cooked up on a good day with a shuffle backbeat and some shakers for good measure.
There’s so much going on here as well; every play I hear another instrument that snuck in under the radar. ‘Next Stop’ sounds like a fucked up Tom Waits number if he escaped from his pain and wrapped himself in a feather boa and some stack heels. ‘Starsky And Hutch’ messed with my head like an early Depeche Mode song if they introduced distorted riffs n power chords. As it goes, I’m drawn to the last side of the album, where I think the songwriting is raised a notch or two and the album closes on a ballad that reminds me of the softer moments of a Julian Cope record. There is nothing not to like on this offering, and like I said earlier, you get a lot of bang for your buck and so many songs that keep vying for your attention over four sides of mighty fine music. Go on, treat your ears and squeeze into those sequined pants one more time and dance the night away to ‘Red Planet Blue’
Ruts DC have been extraordinarily prolific since the release of their last studio album ‘Counterculture?’ back in 2022. With their creative juices flowing freely, they cut two further volumes of their acclaimed ‘ElectrAcoustiC’ series, with volume two arriving in 2023 and volume three in 2024. Now the band are set to return again with a brand new four-song EP titled ‘Bound In Blood’, set for release September 11th via Sosumi Recordings. Due for release on CD and green and black smoke 10” vinyl, the EP leads with the song ‘Bound In Blood’, that first appeared in acoustic form on the aforementioned ‘ElectrAcoustiC’ Volume 3, followed by another brand new song titled ‘Wear The Crown’, although there are no A and B side preferences, leaving the listener or DJ to decide according to their mood and/or choice.
A message from Segs …
“Greetings all. We decided to make our first ever 10-inch EP! 4 tracks,3 songs 2 dubs.”
And here’s what’s on it:
BOUND IN BLOOD – “Some of you will know the song from ElectrAcoustiC vol.3 but here it is re-recorded in its full electric glory.”
BORN INNOCENT – Mitt’s Immortal Mix “A new mix featuring and dedicated to Mitt Gamon: This is one of the final records that Mitt played on before moving on to other realms. Glad to say that he actually heard and approved it before leaving us.”
WEAR THE CROWN – “The music had been circulating for some time, but lyrics finished following our Kings coronation “I pledge allegiance to autonomy”
DUB THE CROWN – “Time to think for yourself.”
“We hope you love it…”
Lovingly crafted for their own Sosumi Recordings label: the EP is packaged in stunning artwork based on an original painting by Oliver Howard thereby continuing the RuTs legacy of “Howard Artwork” (Rupert Howard who created the artwork for The Crack, Grin and Bear It, Rhythm Collision etc that was initiated on RuTs debut LP “The Crack” in 1979. (original painting now owned and cherished by Henry Rollins).
As they move towards the RUTS 50th anniversary tour in 2027, the solid trio of Segs, Ruffy and Heggarty are joined on this release by Rhythm Collision collaborator Mitt Gamon on harmonica and Boz Boorer on extra guitars to make this a very special one-off release.
Segs – “Keeping it real with an EP that is close to our hearts. One song about forgiveness, one about equality and one about Autonomy – it’s a must have.”
Bound In Blood EP track-listing:
Bound In Blood
Born Innocent (Mitt’s Immortal Mix)
Wear The Crown
Dub The Crown
Live Shows in 2026
Sept 22 Göteborg Sweden, Sept 24 Upsala Sweden, Sept 25 Stockholm Sweden, Sept 26 Nörrkoping Sweden
Nov 14 Morcombe Festival, Nov 20 Southampton 1865, Nov 21 Brighton Chalk,
2022 saw Daddy’s Boy’s debut hit the shelves, well, buckle up, kids they’re back to kick the living fuck into your senses and eardrums with their nosebleed loud hardcore noise. ‘Four Hombres’ is a magnificent racket – a no-means-no style assault: angular, sharp guitar noise filling every void imaginable. It’s an intense sonic kicking your given through the medium of hardcore punk. The Chicago-based quartet push the boundaries of what’s acceptable as the songs ramble on with often hypnotic unison riffage and lick after lick whilst the rhythm section hypnotises through their instruments.
‘Four Hombres’ was recorded in Chicago with longtime friend Greg Norman. According to drummer Neal Markowski, the band were keen to ‘break any habits’ they’d developed, and sure enough, they turn in an intense record. The opener is nothing short of sensational, and my advice would be to turn it up, get your head in those speaker bass bins and take it on the chin. ‘Divorce’ sounds like a fuckin avalanche with rocks tumbling down all around you with no chance of escape. The songs are short and oh so sweet, and with no chance of any fat settling on this lean, mean machine, Daddy’s Boy are killing it.
Reflecting the current climate in America, it’s sometimes chaotic, loud, brutal, confrontational, but unlike America, this is bloody good. They should get together with Dead Pioneers and hit the road it would be glorious. ‘Crows Feet’ lends itself to the band declaring war on your senses, the vocals sound distant before abruptly ending.
The title ‘Four Hombres’ is a ZZ Top nod that was chosen, Markowski adds, because “we’re four dudes who like making music together.” This is where any link to ZZ Top ends, hell, these guys would have terrified tres hombres. Eighteen minutes of brutal sensory assault, but in the best possible way, hardcore never sounded so essential. Get a hard hat and step away from the speakers, but do remember to turn it up but at a safe distance.
I’ve sat on this review for a week, trying to find the words- the right words to convey what it truly felt like seeing the three members of The Alarm on a stage on their own terms, playing songs that shaped my musical landscape for the past forty-plus years. When these dates were announced I just had to go to both nights partly due to FOMO and partly because I wanted to be there because I love hearing the music these guys make together regardless of whats gone on over the past few decades and the silly social media infighting he said she said which side are you on nonsense because deep down some of us care about both sides and above all love the music that those – our four lads who shook the world made so it was off to the big smke we went.
We’ve seen Alarm 2.0 several times, from the early knockings when Craig played some shows (and we thoroughly enjoyed the night in Birmingham) right up to as recently as last weekend when they did a few shows in South Wales. No Craig, but still a most enjoyable night with Eddie on vocals. So tonight we sort of knew what to expect from the opening act, who didn’t disappoint with a great set, especially the early songs pre and off ‘Declaration’ say what you like but Smileys smile and Eddies enthusiasm is infectious and God bless em their efforts are much appreciated and their respect for the songs shines through and anyone who doesn’t enjoy their set should have a word with themselves. People seemed up for it and sang along with every word. The energy was along the lines of early Alarm performances it was raw and infectious, and mistakes were made lyrics missed but that’s rock n roll, isn’t it? It was great to see James and Smiley playing a part in the evening because they contributed greatly to keeping the name alive and absolutely should have played a part, and for an opening act this was pretty bloody good stuff. ‘Knifedge’, ‘Absolute Reality’, ‘We Are The Light’ and ‘Deeside’ were spot on, and it wasn’t like the venue needed warming up, but this was pretty good.
Next up was Dave Sharp and The Hard Travellers, who are a seven-piece ensemble playing mostly other people’s music and doing it with a twist (no pun intended). Sharp looked well, and the band complemented him well as he did his Americana versions of some pretty big tunes that clearly mean a lot to the man. ‘Hard Rain’ and ‘Jungle’ sounded great, but it was the rework of ‘Last Smilin Villain’ that impressed the most. Damn, how I love that ‘Hard Travellin’ album how it never got a vinyl pressing is criminal. I think having the band back for these interpretations really worked, and it was a side of Dave maybe some had never witnessed, and it went down really well in the room.
Onto the main course, and with an open mind, of course, there was an elephant in the room: what was this Rob fella going to be like? But any concerns evaporated in the Garage heat within the first few verses of the set opener, ‘Newtown Jerico’. There was a huge expectation on the young man’s shoulders, and he took to the task at hand with class and enthusiasm and absolutely delivered the goods. He didn’t try to copy Mike, nor did he try to fill his shoes; he just went on with his job and delivered a pretty faultless interpretation of the songs we all love and cherish. The fella can sing, but he didn’t try to copy; he just delivered the vocals for the song and hit the notes in his own style, which was exactly as it should be, and he must have felt the room was 100% behind him and fully appreciated the job he was doing.
The band he had backing him were pretty amazing to be fair and any fears for what might have sounded rusty or a bit lame never reared its ugly head these guy sounded like they were halfway through a 100 dat eworld tour (ok so there were a few tightness issues and a few missed chord changes here and there and the odd bum note) but hey, this is rock n roll and I had th efeeling people were also living in the moment and enjoyign it for what it was, three qyuarters of a band we all took to our hearts and loved like they were the best band in the world and for two nights we lived that dream, sure I’d be lying if I said I didn’t miss Mike (I’m sure everyone in that room band inclueded didn’t also miss him and wished things could have been different) but this was about celebrating the music and it looked like everyone was on th esame page and magic was in the air and it was definatly something you could almost feel.
To be fair, I didn’t really have any expectations, nor did I give any type of setlist a second thought I just wanted to enjoy the evening and remember what made this band so special. I loved that it wasn’t the greatest hits, and songs like ‘Hardland’, ‘Permanence In Change’, and an exceptional ‘Devolution Working Man’s Blues’ fell off the Sharpie fretboard early doors, and it was great to see the chemistry between the guys was evident, and their enjoyment was there for all to see.
There was an edge to the sound, and the riffs were loose, but that was part of the magic that was factored in ‘Shelter’ was played with drive and passion and trying a duo version of ‘ Third Light’ between Eddie and Dave was worth a go it’s a great song, even reworked. By the time the band struck up ’68 Guns’, the place was rocking, and hearing the audience sing loud and proud was a real goosebump feeling, and I’m sure the band felt that back from the audience. Another thing that gave me goosebumps was hearing Twist play the drum lick on ‘Rain In The Summertime’ without any tapes or clicks, and when Dave joined with his drenched licks, it was a real moment. To be fair, Rob sang it really well, hitting every note perfectly, but I wouldn’t have doubted him after his delivery thus far into the evening.
The lyrics to ‘Spirit’ hit hard, and not for the first time this evening I thought about their fallen brother, a huge hole in my music journey that will never be forgotten, and as I looked at Eddie, I think he must have been having similar thoughts during the song, as he has when I’ve seen him sing it previously. Awesome.
As we headed towards the end of the first night, it was a full, bloodied ‘Sold Me Down the River’ that saw a decent duel between Rob and Dave before they encored with a ripping version of ‘Rocking In The Free World’, taking their much-deserved bow, we sauntered into the warm London night air beaming with the knowledge that the remaining Alarm had absolutely delivered the good and paid tribute to the bands legacy with a stonking performance that I was delighted to have witnessed. See you tomorrow.
Sunday.
With Smiley hotfooting it off to Dublin to play with Geldof and his Rats in some stadium with Bon Jovi, it was left for some Nigel bloke to fill his drum stool for the 2.0 set tonight, and to be fair, it was more of the same from the previous night, with a loose set that was thoroughly enjoyable and played with the spirit of Early Alarm all be it more relaxed knowing that the first night went so well. The same can be said for Dave Sharp and The Barnstormers it was more relaxed and a slightly longer set, but again thoroughly enjoyable, reminding me of Chuck Prophet and Dan Baird and what they do after Green On Red and taking the spirit of the Bob Dylan Rolling Review. Did I mention the version of ‘Last Smilin Villain’? Well, again, it was top of the shop in this set, with a special mention to the band Dave has assembled, who handled the songs really well with a fine touch, often reminding me of a certain Mr Strummer. I look forward to hearing the record, Mr Sharp. Bravo.
There’s no point in me going over what was a very similar set, with a few notable exceptions that made a difference to the second night mainly. That night two, we were treated to the epic (Mike’s Favourite Alarm Song) ‘One Step Closer To Home’, which was emotional, to say the least and was dropped in the set, replacing ‘Third Light’, which was, if my memory serves me well, the only change but one that was much appreciated and sounded awesome.
Maybe the band played more relaxed on the second night I’m not really sure. It was again terrific to hear the songs played again, and Rob once again did justice to the vocals and also paid tribute to the songs and the band, which sounded heartfelt and humble and was much appreciated and really genuine now my parting thoughts are these, this was a great idea and one that worked really well, there were no egos on display and people seemed genuinely happy to be there and the sound from the audience was everything I hoped it would be the bands did themselves and the name of the Alarm proud and I’d be well up for doing this again next year with a few songs added if I may be so bold. I bloody love The Alarm I do. Wrapping on the chocolate bar, my arse, these boys had the chops then and still have them today. Long live The Alarm and as Mikey Boy sang, the 68 Guns will never die. Amen to that!
Recent Comments