Johnny Thunders – ‘Que Sera Sera'(Jungle Records)

Johnny Thunders – ‘Que Sera Sera'(Jungle Records)

When Jungle said they were releasing a brand new 40th Anniversary edition of the classic ‘Que Sera Sera’ album, I was curious. Having such a small repertoire, or rather official output, Thunder’s always delivered exceptional records. This latest reimagined version of this fine record is well worth investigating, not just because of its shocking pink records, but there are hidden gems within.

Completely remixed and reimagined with the big claim that this is how it should have sounded (to be fair, they’re not wrong on this claim). Gone are the muddy mixes and replaced with crisp, vast widescreen takes. The second album is six previously unheard outtakes and live tracks. Remixed by the now departed Pat Collier, having revisited them because Johnny missed the original mix back in the day, so his guitars have been put in their rightful place – Front and centre and LOUD!

This fine package comes with a splendid overview from Nina Antonia with quotes from the people who were there, like Michael Monroe, who also added some exquisite sax on ‘Blame It On Mom’ and the majestic ‘Cool Operator’. The side I went to first had to be the brand new takes on side three, where you get a raw and vibrant version of ‘Blame It On Mom’ with an absolutely fire solo. Quite how ‘Take You Up Avenue D’ never made the original, I don’t know, with its slap funk Bass and wailing sax, it’s sleazy as hell and the embodiment of the place when this was recorded. ‘Short Lives’ is more of a guide jam with the vocal deep in the mix and Thunder’s unmistakable guitar right front and centre. And Johnny fucking up on ‘I Only Wrote This Song For You’ is classic. Bringing the studio takes to a close is the awesome ‘Cool Operator’ first take. They definitely nailed the final version that made the album way more funky than this pretty straight take. Lacking the swing and arrogance that elevates the original release. But to hear Johnny rip it up on guitar is a joy all by itself.

With your usual ensemble of legends who play on Thunder’s albums, this might have been his most creative with Tregenna, JC Carroll, Monroe, Suicide, Matlock and Wilco Johnson alongside his incredible band from the time this is how ‘Que Sera Sera’ was meant to be heard. From the iconic cover to the shocking pink vinyl, this might just be the definitive version. The real gold here is the unearthed Outtakes on side three of this record, worth it for these alone, as well as the excerpts from a live show in Northern France taking up side four. Johnny Thunders is still the greatest there ever was and will ever be. Cherish his archive and get on board with this lovingly preserved collection from people who give a fuck about his music and the search for perfection of how he should have and deserved to sound.

Having unearthed the live recordings, this is Thunders at his finest. Taken way too soon, he never realised his true potential, but the studio albums he did leave behind are lovingly preserved by the likes of Jungle, and apart from the punk police wagging their fingers, I’m all for hearing these unedited takes and alternative versions. Just buy it the guy was a genius.

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Author: Dom Daley

*There is also a 12″ and 7″ test pressing available of ‘Short Lives’ and a mix of ‘Cool Operator’

Hound Gawd! set to unleash the new Zeke single

Hound Gawd! set to unleash the new Zeke single

ZEKE ANNOUNCES NEW SINGLE – ‘PETERBILT’ ON NOVEMBER 28 VIA HOUND GAWD!

Short. Fast. Loud. No compromise.

With their new 7″ single “Peterbilt”, ZEKE unleash an adrenaline rush only they can deliver. Since forming in Seattle in 1992, ZEKE have defined speed rock: an unrelenting mix of hardcore punk, rock ’n’ roll swagger, and breakneck fury.

The two tracks, “Peterbilt” and “From The Ashes”, are nothing short of a frontal assault—razor-sharp riffs, relentless drumming, rumbling bass, and the feral snarl of frontman Blind Marky Felchtone. Every second hits like a strike, every note is pure velocity. This is rock ’n’ roll in the red.

Led by founding members Blind Marky Felchtone (vocals, guitar) and Donny Paycheck (drums), alongside Jason Freeman (bass) and Jeff Hiatt (guitar), ZEKE channel their explosive live energy straight into vinyl. In less than three minutes, they deliver the kind of sonic intensity most bands can’t capture across a whole album. “Peterbilt” is uncompromising, high-octane punk rock—raw, direct, and unapologetically loud. Essential listening for anyone who craves speed, aggression, and attitude.

ZEKE are back—faster, louder, and more ferocious than ever.

The tracks are not available on streaming platforms.

Tour Dates

18.03.2026 – NL – Eindhoven – Effenaar

19.03.2026 – DE – Saarbrücken – Studio 30

20.03.2026 – BE – Aalst – St-Annazaal

21.03.2026 – GR – Athens – An Club

23.03.2026 – DE – Köln – Volta Club

24.03.2026 – tba

26.03.2026 – tba

27.03.2026 – ES – Vitoria-Gasteiz – Jimmy Jazz

28.03.2026 – ES – Madird – Gruta 77

29.03.2026 – PT – Lisbon – Republica da Musica

30.03.2026 – ES – Jerez de la Frontera – La Guarida

02.04.2026 – ES – Valencia – 16 Toneladas

03.04.2026 – ES – Barcelona – Upload

04.04.2026 – FR – Montpellier – Secret Place

05.04.2026 – FR – Marseille – Molotov

07.04.2026 – DE – Freiburg – Atlantik

08.04.2026 – DE – Wiesbaden – Schlachthof

09.04.2026 – DE – Düsseldorf – Pitcher

10.04.2026 – NL – Rotterdam – Baroeg

11.04.2026 – NL – Zwolle – Skroetfest

Cheap Trick – ‘All Washed Up’ (BMG)

Cheap Trick – ‘All Washed Up’ (BMG)

Celebrating their fiftieth year of playing this Rock n Roll game, the mighty Cheap Trick ain’t done yet, and with this, their latest offering, ‘All Washed Up’, is a tongue-in-cheek title because on the evidence herein, they are on fire and sounding as hungry as the day they first broke out of Rockford. From the opening few bars of the title track, you kinda know exactly what you’re in for. The band sounds vibrant and kicking it with the energy coming from the engine room, which is now driven by Rick’s son Daxx, who is proving to be a real power house and driving the music on, adding a ton of x factor to proceedings.

To be fair they are on fire here and turning everything up to 11 they’re rockin hard. by the time you get to the third track, Nielsen has decided that he wants to show everyone hes lost none of his fire and love for loud guitars as he rinses ever last drop out of how ever many necks he feels like swinging around these days. Hell, they are right on it for ‘Bet It All’ with the musicianship being put to the test and throwing down the gauntlet to anyone within earshot. I remember when Aerosmith returned decades ago after ‘Done With Mirrors’ and every man and his dog wanted to champion the band for their hunger and quality, well, this reminds me a lot of the spirit captured in these here tracks. Even the first slower ballad-like track, ‘The Best Thing’ (of course it’s called that and with slushy tempo and dreamy solo it’s built for American Radio if that’s still a thing.

Another point apart from the rhythm section and lead breaks sounding fantastic, a special mention to the amazing vocals courtesy of Robin Zander, who is pealing back the years. I’m not even sure a guy of his years should be allowed to possess a voice that bloody good; it might be illegal these days.

Throughout the eleven songs that unmistakable Cheap Trick power pop is there for all to hear, of course, it is its part of them like a gas or the lifeblood that courses through their veins, it’s always there. ‘Twelve Gates’ is a great example of the old dog and new tricks, it’s power pop gold. Hang on, ‘Bad Blood’ is even more Cheap Trick with a fantastic melody and a thick edge on the Bass, whilst Nielsen is having the time of his life all over this record. Even the parts where they might be cruising, Rick has something fire up his sleeve just so you don’t get complacent.

Finally, I’d just like to say that when they turn it up, they really do capture some magic, and whilst the production is slick and thick, it’s when they up the RPM that they hit the dizzy heights on ‘All Washed Up’, and those are the songs that take this to the next level.

To produce a product this good, this deep into a career, is nothing short of remarkable. I’ll even forgive them the skiffle and jazzy outro of ‘Wham Boom Bang’, they’ve earned it because Cheap Trick are still the cats whiskers and this is the mutts nuts now wham boom bang that one and buy this album!

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Author: Dom Daley

THE GODFATHERS ANNOUNCE NEW MUSIC AND U.K. SHOWS!!!

THE GODFATHERS ANNOUNCE NEW MUSIC AND U.K. SHOWS!!!

After a Summer and Autumn touring Europe, The Godfathers kickstart 2026 with a trio of UK dates and a brand new single.

The band hit the European festival circuit for shows in Croatia, Portugal, Germany, Austria and Greece, sharing stages with the likes of the Sex Pistols, The Damned, Sisters Of Mercy and The Stranglers along the way.

They’ve also found time to record two new songs, their first new material since the release of their highly praised 2022 album Alpha Beta Gamma Delta.

Set for release on 6th February and featuring guest contributions on synthesiser and guitar from Devo’s Josh Hager, the double A-side single has been described by The Godfathers’ frontman and founder Peter Coyne as “exciting, finger on the pulse rock and roll social commentary – another sonic leap forward for the group.”

The Godfathers will follow the release with their annual Saint Valentine’s Day Massacre concert at the iconic 100 Club in London as well as gigs in Leeds and Edinburgh. Full dates are…

Wed 11 February – EDINBURGH – Voodoo Rooms  (w/The Primevals) – Edinburgh Tickets

Thurs 12 February – LEEDS – Brudenell Social Club – Leeds Tickets

Fri 13 February – LONDON – 100 Club  (w/The Witchdoktors) – London Tickets

Tickets for all shows are available NOW!!

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N.E. Vains – ‘Running Down Pylons’ (Big Neck Records)

N.E. Vains – ‘Running Down Pylons’ (Big Neck Records)

Originally formed in the autumn of 2022 during the doldrums of the lockdown, the project N.E. Vains was originally called “The Vains” but expanded their name to avoid confusion with other groups. For the band’s four Americans, the N.E. stands for New England, and for the sole Canadian in the band, it means North Eastern. (Simple as that).

With the additional efforts of Shandy Lawnson (lead guitar), Bill Bates (bass) and Elvis Belushi (drums), Jeffrey Thunders (rhythm guitar), the collaboration put together a collection of 14 songs, three of which ended up on a split 7″ with Chinese Junk in 2023 on Big Neck Records (Buffalo N.Y.) and Brassneck Records (U.K). Tragically, Bates passed in 2023 and the split was dedicated to his incredible memory. With New Haven area rock musician and engineer, Scott Fitch, taking over on bass, the band have compiled their latest 11-track LP ‘Running Down Pylons’, Think wonderfully trashy rock n roll with the DNA mixture of The Dolls, The Misfits melodies equal parts punk n roll and wonderful sloppy junkshop hand me down rock n roll.

How can you not love ‘Through With It’ with its rapid rampage through some serious sloppy rock n roll with howling feedback and sloppy timing, it’s a glorious noise wrapped in a melody Sylvain would have loved, then turn up the amps when the engineer isn’t looking and hash out ‘Time For You’ and its danceable rhythm and ear-splitting guitar tones.

Hell, ‘My Ammunition’ is a riot on wax and the snotty ‘Pinched Nerve’ is exactly where The mighty Dead Boys would be today if Stiv and the boys crawled out of the gutter in 2025, fuckin glorious noise. I love Rock n Roll that makes me feel alive and on edge, and NE Vains do just that. The cacophony of guitars rampaging over the thuggish Bass and Drums is dangerous and exciting, and the heady mix of punk and cheap drugs can only make a good time cocktail to think this was created at a distance under isolation during the global pandemic is probably for the best because buildings would have been devastated had they had the freedom of seedy clubs and ropey PA systems.

The swan song is ‘Wrong Step’ with its dark, seedy back alley swagger, it’s a great sing-a-long to take this bad boy home. A wonderful tribute to their fallen brother and a record I can’t recommend highly enough. Put on your creepers and leather jacket and get out there, pick up a guitar and turn it up. NE Vains play Rock n Roll, they play it loud and they play i toh so good. Get in on it! NOW!

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Cosmic Psychos – ‘I Really Like Beer’ (Subway Records)

Cosmic Psychos – ‘I Really Like Beer’ (Subway Records)

State the fuckin obvious. Them Cosmic Psychos always did things their own way with a cheeky nod and a grin and a tune penned for beer money to supplement the farming game, but d’you know what they quickly found out they were bloody good at it. They might well have peaked when they penned ‘Nice Day To Go To The Pub’ not like they had writers block or anything they just wrote about what they saw ever fuckin day be it nice day to go to the pub or a tale about Fuckwit City they always wrapped the lyrics in huge fuckin riffs with plenty of cowshit and snot to compensate for the manly smell of beer n bellies so why not finally put pen to paper and title this one what they really wanted to call their records.

Leading the way for decades treading paths so the scamps in The Chats or Amyl and her sniffers could follow. Giving those C.O.F.F.I.N. boys the confidence to do it like they wanna or making things ok for the civics and stiff Richards of the world to follow, thereafter the Cosmic Psychos have been there, done it and worn out the beer n piss stained t shirt.

‘I Really Like Beer’ is the culmination of a sober five minutes to complete what amounts to a stonking riff-heavy barnstormer all about one of their favourite life hacks – Beer. Of course, they could only come from the land down under, much like the other bands I mentioned, and lump in Grindhouse to that and drunk mums, hell, its only The Saints and Birdman who escape the idiot circus at this rate and The Cosmics are the daddies!

There’s a bluntness about this lot, they don’t do fancy, there’s no tunes about trendy fruit flavoured Beer, nor pouring it over Ice, it’s straight down the line, meat n tatoes Pub Punk from the wailing opener and title track, the tempo is set. Mad Macca is playing a blinder with his SG resting on his keg like gut the guys on fire.

If it ain’t broke, don’t fix it, and their brand of thuggish punk rock is timeless and classic, and why would you want them to change anyways? It’s a sure-fire winner. There’s something quite poetic about twelve beer-soaked rockers, “You are the new age, I’m from the stone age”, so there’s a rousing middle finger right there, deal with it. ‘This Could Be The Greatest Beer Of My Life’ is a magic title, and the riff is up there with the best of em.

It’s not all crash bang wallop ‘Do It Again’ starts off with a cool run as bass and guitars lock in, and ‘Hey Mick Your Sick’ would give old Steve Jones a run for his money if he were to write for an album again, these boys could be his writing partners. ‘Have One More’ is so immature; ‘Spaghetti Weston’ is a classic play on words and the melody is supersnotty to the max, then we go out as we came in with ‘I Really Really Really Like Beer’ so lets fuck this off and go to the pub for a few sneaky looseners and hope they’ve go t ajukebox so we can crank out some Cosmic Psychos – Thirst work this writing lark is so all thats lef tis fo rme to tell you to buy this album you’ll reall reall reall like it!

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Author: Dom Daley

Gully Boys – ‘Gully Boys’ (Smartpunk Records and Many Hats Distribution)

Gully Boys – ‘Gully Boys’ (Smartpunk Records and Many Hats Distribution)

When I think of music from Minnesota, I immediately think of Prince, the Replacements, Husker Du, and the Clams. The Gully Boys are new to me, thanks to touring with the amazing Durry, but they have made an immediate impression. Their live show felt a bit like a journey where the music became more intense as their set continued. This debut full-length album features a lot of what I heard live, but they have also released some EPs and singles in the past, which I have now also begun to explore. This enjoyable debut has allowed them latitude for whatever they want to do in the future, and it’s even more remarkable that they just started learning to play their instruments back in 2016 when they decided they wanted to start a band.

‘Break’ serves as an excellent opening song as it mixes melodic moments with heavier elements to set the stage for what follows. The opening guitar reminds me a bit of an alt-rock approach from the 90’s, and I love the twists from the rhythm section that lead to the chorus. The hook is subtle, and the breakdown over the last minute or so of the song is very engaging. ‘Me and You’ amps up the intensity a bit with a hookier chorus than the opener. The guitar solo portion stands out in the approach and works well by doing the unexpected. The opening of ‘TTML’ reminds me of what may have been on the radio 30 years ago, but the chorus jumps out of the speaker like it was spliced from ‘Pissjoy’ by the Wildhearts or Delilah Bon at her most intense.

Building more intensity, ‘Mother’ feels grungier and dirtier than the first few songs. There are elements here that also remind me of the much-missed Die Cheerleader, as some of the vocals are cleverly placed deep in the mix and others lash out of the speakers. One of the elements that stood out when seeing the band live is that the members each handle vocals in different songs and in different ways. Utilising all of their voices is definitely a strength. Closing out the first half of the album, ‘Love Me 2’ started as my favourite from the album on first listen as the chorus is instantly memorable, but some of the others have started to pass it now. It clicked when I was writing this that it fits in the same musical pool Artio does with their ‘Babyface’ album.   

Flipping the album over to side 2, we start with my current favourite from the album. ‘Murderapolis’ is a raging two-minute burst of energy and anger. If I had one request here, it would be for the guitars to be as front and centre as they were when I heard it live. The chorus here is excellent, with the different voices each providing their own hooks. The band keeps the intensity going with ‘Spit,’ where the band morphs a bit more into a metal band with some hints of nu-metal. If you are a fan of Wargasm UK, this might be a good first song to hear from the album. This was definitely a standout song live as well. Changing gears quite a bit, ‘Big Boobs’ has an electronic feel with some cool hip hop vocals leading into a catchy chorus. The song could have easily missed the mark, but it really fits into the album flow quite well. The band is trying to get a dance for it to go viral on social media, so help make that happen.

As we near the end of the record, ‘Bad Day’ was an excellent song in their set and provides a catchy hook here that leaves the listener singing along well after the album is done. I love the dynamics between the verses and the chorus. The breakdown in the song builds up to a nice chorus chorus-filled ending. Closer ‘Gimme a Second’ slowly rumbles out of the speakers with a grunge/ alternative flavour. The harmony in the vocals is my favourite part of the song, but the unique guitar work after each chorus is a close second. Compared to the rest of the album, this feels more like a ballad but still rocks in its own way.

This band would have likely escaped my attention if I had not been paying attention to who was opening for Durry. I checked out the album once or twice before the show and then got to hear a lot of this material live. I don’t think they captured some of the live intensity and guitars in the mix that they did in the live setting, but the vocals from each member have more room in the mix on the album, which serves it well. I keep increasing this album’s plays in my rotation and recommend giving it a listen or going to see them live if you have the opportunity. They started as a new band for me, but are now on my ones to watch list.

‘Gully Boys’ is available now.

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Author: Gerald Stansbury

Francis Rossi – ‘The Accidental’ Solo Album

Francis Rossi – ‘The Accidental’ Solo Album

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‘The Accidental’ by Francis Rossi, released by earMUSIC on 30th January 2026 on CD, LP and Digital formats, comes as something of a surprise… It was a surprise, certainly, to Francis, who had no plans to record an album. “This truly came out of nowhere”, says Rossi. “I spend my life in and out of the studio, rehearsing, tinkering, but something happened earlier this year and, before I knew it, we had created something special.”



While Rossi’s previous solo albums explored his love for acoustic ballads, vocal harmonies, and the blend of British rock with country influences, this album, Francis Rossi’s first in seven years, marks a true return to the energetic, guitar-driven sound that made him a legend with Status Quo.

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‘The Accidental’ sees Francis Rossi playing to his strengths, but taking risks, cutting loose, and exploring new territory – this album is all about old bones and fresh blood.

The fresh blood in question comes largely from Hiran Ilangantilike, a guitarist who was originally a school friend of one of Francis’ children, and co-producer Andy Brook. What became the sessions for ‘The Accidental’ was initially born of just plugging in and making some serious noise, but something clicked in the studio. Lightening was indeed bottled: there was a swing and a groove, and the songs started pouring out. With John ‘Rhino’ Edwards and Leon Cave later laying down the bass and drums parts, and Amy Smith again bringing an extra dimension on back-up vocals, this became a project with a bite and DNA all of its own; albeit Francis’ playing is a distinctive as ever. Almost all of the songwriting credits reflect this fresh and collaborative ethos, though there are two that bear the classic Quo hallmark: Rossi / Young. Francis Rossi produced ‘The Accidental’; co-producer Andy Brook recorded, mastered, engineered, and played on the record, and co-wrote three tracks.

Kicking off with a flourish ‘Much Better’ segues into the ebullient ‘Go Man Go’, teeing up future classic ‘Push Comes To Shove’ and the plaintive yet strutting blues singalong of ‘Back On Our Home Ground’ [who will be the first Sports team to adopt this one?]. By then, the engine is well and truly running, and the highlights keep coming. The chug and chant and choppy chords of ‘Something In The Air (Stormy Weather)’ give way to the cantering ‘Picture Perfect’, which could only be a Rossi number. The long strides of ‘November Again’ distil a melancholy refrain into a catchy chorus, and the epic ‘Beautiful World’ channels vintage era Quo with enough guitar to get the balcony of the Glasgow Apollo bouncing again. ‘Time To Remember’ is built around a piano line and swaying melody and serves as a poignant and powerful coda to an extraordinarily strong set of new songs.

Today’s announcement coincides with the launch of the first two songs: ‘Something In The Air (Stormy Weather)’ and ‘Go Man Go’ are available for streaming and download with immediate effect.

“For anyone who liked any of my solo albums previously”, says Francis Rossi, “… well, I’ve no idea what you’ll make of this one because it’s a real departure, but I love it. It’s loud, the guitars are right to the fore, and there are some great songs there”.

This new album finds Francis Rossi once more at the top of his game, with a searing yet thoughtful collection of rockers that will please anyone who likes their dose of heavy cut with melody and verve. Mark Twain said that the accident is “the greatest of all inventors”: when there are no rules, expectations or preconceptions, anything can – and will – happen. ‘The Accidental’ proves that amazing things unfold when an artist with an unrivalled track record is inspired to create new music – even after more than 50 years of success – by the sheer love of playing. That unbridled joy is where the elemental magic that animates ‘The Accidental’ is conjured.

Witkin -‘Things I Might’ve Said’ (Self-Released)

Witkin -‘Things I Might’ve Said’ (Self-Released)

Veronica Witkin’s resilience and tenacity have allowed her to climb back up a mountain most cannot climb once. The first album I ever reviewed for a site was ‘Glitter City’ by the Glam Skanks. If you have not ever heard the album, seek it out along with ‘Things I Might’ve Said’ when you get done reading. The Glam Skanks at that time were pure magic. They had a singer (Ali Cat) who could command a room just by being in it. The chemistry was extremely tight, even if their drummer situation made Spinal Tap look like a band that could keep a drummer. They toured with Adam Ant and had an absolutely incredible album that is one of my all-time favourites. The band would go through some changes before the next album was released, which was a good album, but not at the same level. The Glam Skanks would eventually go their separate ways, with Witkin looking for what comes next. Soul searching, perseverance, and strength have allowed her to pick up the pieces and rebuild her musical approach. ‘Things I Might’ve Said’ serves as a new introduction with Witkin not just playing guitars but singing and shifting her musical direction while remaining in a 70’s frame of mind. While a few of these songs have been released over the past few years, she has also excluded some previously released songs from the album.

She kicks off the album with the power-pop stylings of ‘Last Years Ashes.’ Her voice has some grittiness to it that makes it feel rougher than the Raspberries, but still poppy. One of the early songs released from the album ‘1973’ paints a picture lyrically and draws musically from the same year. Witkin’s voice is working perfectly with the approach. There needs to be more avenues for these kinds of songs and music to be heard, as I believe there is a huge audience out there who have no idea this exists. She uses her guitar brilliantly within the song. The song has more rock to it than the first song. She does a great job establishing a wide variety of musical approaches across the album, with ‘A Way Back to Myself’ dipping into an acoustic rock feeling that has Led Zeppelin elements. Her vocals showcase the work she has put into developing as a singer. She maintains some rasp and adds power to it. The guitar solo hits hard and establishes another high point on the album. Lyrically, these songs seem to draw inspiration from Witkin’s journey from the demise of the Glam Skanks to her phoenix-like rising here.

Furthering her musical scope, ‘I Hate My Brain’ delivers some straight-ahead rock n roll with some much-appreciated hand claps included. Her guitar work again is very impressive as she delivers the goods without overshadowing the song itself. From the first moment I heard ‘You’re So Cinematic,’ it has reminded me of early Alice Cooper. It has a dark, dreamy feel with some excellent guitar licks. Her ability to play guitar, I have never questioned, and the solo here provides proof. Vocally, though, she has done a great job employing different styles and approaches. Her vocals here are smoother and sound powerful. She closes out the first half of the album with the rocking ‘Hard to be Happy’, which features a chorus that pops out of the speakers. If you told me Witkin time-travelled here from the early 70’s, I would not be surprised, as she delivers these songs with a genuineness that jumps out of the speakers.

The flipside or back half of most albums do not begin with an ‘Intro.’ The very brief instrumental reminds me a bit of the circus, but it works well as an introduction to the glamtastic ‘Don’t Call It a Cult.’ If you remember the amazing ‘Velvet Goldmine’ soundtrack from many years ago, this song would fit perfectly on it. She has channelled her inner Bowie on this one, and I love the guitar work. The backing vocals are sublime, and I love the lyrics. ‘Chromatic Aberrations’ spreads out the musical landscape again with some tasty guitars on a spaced-out beat. Instrumentals can be hit and miss for me, but this one is definitely a hit with a lot of personality.

 ‘Conversations in My Head’ brings us back into the power-pop spectrum with another strong hook-filled chorus. Lyrically, this song will likely connect with most of us as she has channelled into something most of us do. The cleverly titled ‘Drowning in the Gene Pool’ turns up the fun musically with some piano added into the mix to join the party. The guitars pop in the mix, as do the hand claps. This feels like something Sass Jordan could have done back in the ‘Racine’ days.  All good things must end, and Witkin brings the curtains down with ‘These Days.’ What struck me most when I first heard the album is she chose the finale to showcase her vocals, more than her guitar. The confidence leaps out of the speakers as she sings about trying to fit into the world. This can be an anthem for any of us who have experienced moments where we don’t fit into what is happening or feel out of place.

The Glam Skanks drew a lot of influence from the 70’s but took it in a different direction. Witkin has shown an evolution in who she is and what she represents. This album feels like a piece of her soul. She came very close to having her rock n roll dreams come true and has established a solo career with this album that puts her heading in that direction again. The musical approach isn’t revolutionary in terms of forging a new genre. This musical approach is based on writing and performing great songs wrapped in authenticity.

‘Things I Might’ve Said’ is available now. Buy Here

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Author: Gerald Stansbury

Lovers Left Alive – ‘How..’ (Today is Going Well / Xonoring Records)

Lovers Left Alive – ‘How..’ (Today is Going Well / Xonoring Records)

Sorry Finland… Lovers Left Alive don’t belong to just you anymore. They have been unleashed on the rest of the world, and with some promotion and breaks, they will get to see the rest of the world soon. I received a tip to check out the band (thanks, Graeme), and one of the first things I found was a live cover of the early Dogs D’amour song ‘Wired and Wide Awake.’ The band were immediately speaking my language. After a run of singles over the past few years, I believe this is their debut album, which makes an immediate impression and memorable introduction.

If we travel back in time, we can identify some of the influences in Lovers Left Alive. One of those would be very early Hanoi Rocks when they were crafting their debut album. Another one would be some early Stooges. The Rolling Stones would be one of the ingredients, and some early punk (Heartbreakers) as well. What’s special, though, is that the band has created their own identity out of these ingredients and influences. The mix on the album is beautifully messy and gives it a live sound. I recommend turning up the volume and losing yourself in the magic.

It would all mean nothing if the band didn’t have the songs, and they definitely have the songs. ‘All About Luv’ has a great sing-along section, an addictive beat, and a lead guitar that feels like it is going to go off the rails at any moment. The cacophony of sounds at the end feels a bit like the hot mix early Jim Jones Revue recordings had, think ‘The Princess and the Frog.’ Fuzzy backing ‘ooohs’ peek through the mix in ‘Haven’t Seen the Sun’, which showcases the band’s ability to write catchy songs with great riffs. ‘Want You There’ is built on an addictive beat with guitar licks dancing around it. There are some twists in the vocals, but this is one of those songs where I heard some early Stooges. The song feels like it can morph into different directions at any moment. When it does, we get an incredibly catchy chorus that is used minimally over the song’s five minutes.

Changing directions, the band unleash ‘Sum of These Young Hearts’ which feels a bit like ‘Roads’ by the Backyard Babies. The mix gives the song some grit, and the song provides another catchy moment that gets stuck in your head. ‘Let the Good Times’ gets the party started again with a rockabilly type beat that blends their influences and originality into a powder keg, with the guitars sounding pushed to the extremes. You can almost see the amps smoking and the sparks popping in the air. The too-short ‘Crackdown’ could pass as a missing song from ‘Self-Destruction Blues.’ The guitar riff works perfectly over the beat, and the band deliver a contagious infection that induces air guitar and sing-alongs.

The beginning of ‘Bedroom Talk’ feels like the band has just plugged in their instruments and then jumped into the song. The slower tempo provides another example of the diversity through the album. This is another one with excellent guitar work and musically in the same world as the New York Dolls. The album ends with two longer songs, with ‘Only Lovers Left Alive’ being the first one. There is a burning intensity to the beat and vocals. The guitar notes after the choruses work perfectly, and the feedback from the guitars adds more magic to the song. The way the song creates an inferno near the end could have been an epic closer to the album. Instead, the band found a way to build to an even better ending. ‘Out of My Reach’ may have a running time over nine minutes, but it never feels that long. The introduction and slow pace at the beginning feel a bit like early Jesus and Mary Chain- think ‘Darklands’ with ‘Psychocandy’ production. The song builds and adds elements as it goes, with an ending that is unexpected on first listen and becomes even better when you hit the 15th or 20th listen. If I had to single out a favourite song on the album, it would probably be this one.

Once again, with apologies to Finland, Lovers Left Alive belongs to the whole world now. This album has grit, finesse, barbed wire hooks, and great songs. They have taken their influences and infused them with their own originality to create an album that feels both exciting and familiar. What they need is exposure to begin their ascent to the next levels of popularity and hopefully live performances across the world.

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Gerald Stansbury