The Streetwalkin’ Cheetahs – ‘One More Drink’ (Dead Beat Records)

The Streetwalkin’ Cheetahs – ‘One More Drink’ (Dead Beat Records)
The first new album in 20 years is finally here. Those fine people at Dead Beat Records made it happen.  It features guests John Easdale, Rikk Agnew and Paul Roessler.  Eleven songs with a veritable Melting pot of styles is what’s on offer, so turn up the stereo,  sit back pour a cold one and lets go.
‘Ain’t It Summer’ sounds like Cheap Trick and the first thing that stands out apart from Paul Roesslers swirling keys are the layers and layers of harmonies on what is effectively the smash hit of the summer that never happened. it really is like a cool summer evening with the saxophone blasting out in the distance but not quite what I was expecting but ‘Fast Fucked & Furious’ is the rocket ride I was expecting.  Maybe they fucked up the running order I dunno.  Mayers vocals are as sharp and rockin’ as they ever were as he takes this sucker home but not before the guitars get set to melt their fretboards on the solo and from there on in the song is out of control.
Chillin’ or kicking back slightly ‘Bad Vacation’ has got a great hook with the riff and vocals working in tandem on the verse and when the sax joins in I’m sold – I love that setup and this is turning out to be a great tune. ‘We Are The Ones (We’ve Been Waiting For)’ is like a rouged up slice of power pop with the opening riff sounding like Neil Young and Crazy Horse jamming on a Wildhearts track.  Seriously it’s got those ingredients in the DNA.
We have some Rikk Agnew going on on ‘The Rejected’ as the boys fire up the Rock and Roll hotrod and take it out for a spin with a cool melody and vocals from Geoff Yeaton as well as his fantastic saxophone. I think when they wrote ‘Rumblin’ Train’ the title kinda wrote itself because the beefed rhythm section is like the sound of a freight train steaming down the track barely in control and its not Casey Jones honking on the rip chord tootin’ as it speeds down the track its a wide-eyed Frank Meyer with the devil’s horns raised high screaming for all he’s worth ably flanked by Duff as he rips out the guitar licks – great stuff.
They turn up the smooth old school classic rock for ‘Let Me Out’ in contrast ‘One More Drink’ is a punk rockin’ power poppin’ drop of nectar from the Gods of Rock and Roll.  It’s the more you play the better it gets kinda record.  Stick with it kids and the rewards start to filter through one by one.  You can stomp your feet to ‘Warzone’ which might well be the weakest track on offer here but it has some sparkling guitar licks and saxophone honkin’ which saves the cliches that otherwise might have gotten overwhelming. The record is closed off with ‘Switchblade Knights’ where they introduce some proper Ian McLagan boogie piano for good measure and sign off a bloody decent record.
In places, it soars like a phoenix from the ashes of what they used to be.  It never drops below an excellent record and when it does veer into a little cliched territory its got a saving grace that gives the song a free pass be it the vocal, a guitar break or saxophone honk – The world is a better place with bands like the Streetwalkin’ Cheetahs in it releasing records and making a worthwhile noise.  Now do yourself a favour and go get it because when they’re gone you’ll regret it but I hope it isn’t another couple of decades until the next one.
Facebook / Buy it at Bandcamp
Author: Dom Daley

ELECTRIC BOYS: A Concert Film streaming on Friday May 14th

ELECTRIC BOYS: A Concert Film streaming on Friday May 14th

In a time when the pandemic had shut down every possibility for artists playing live, Electric Boys wanted to do something different.

On April 8, Electric Boys was located at the Vallentuna theatre. The smoke was lying heavy thru the red/green lights on stage. Oriental carpets and lava lamps were decorating the stage and this is when band invites you to an exclusive show of both new and old songs. We will be taken on a musical riff-journey with Conny Bloom – vocals & guitar, Andy Christell – bass, `Slim` Martin Thomander – guitar and Jolle Atlagic on drums.

On this night, Electric Boys wants to pay back to those who mean the most – their fans! Follow us on a hybrid experience where YOU will stand on a virtual red carpet at the Sonika Studios.

Talk directly to the band over the chat forum, ask questions, be a part of an exclusive merchandise raffle and you´ll even be able to request songs played spontaneously by the band. There will be a few other surprises as well.

This is not just an ordinary live stream, but something out of the ordinary. This is an intimate, exclusive moment where the band and the viewers will spend time together as the rest of the world is Ups!de Down.

You don’t wanna miss this….!

 

 

To get tickets and info about payment, click on the photo above and log in after that just follow the steps;

1.Sign up

2.Log in

3. Rock Out

4. Join us on: 14 May at 6:30 pm (Swedish Time)

5:30 pm – London

12:30 pm – New York

9:30 am – Los Angeles

2:30 am (next day) – Sydney

If your timezone is not here use the Swedish one and convert it to where you are in the world with the converter that you can find here.

Jack Saint – ‘Reap What You Sow’ (Heavy Medication Records)

Jack Saint – ‘Reap What You Sow’ (Heavy Medication Records)

Mutant voodoo blues noise is a great description of your music and a pretty good one at that – sure it’s obvious that the Gun Clubs Jeffrey Lee Pierce looms like a shadow over Saint but there’s more to this artist than that.

It’s been over two years since the debut album on Heavy Medication, and now Warsaw’s Jack Saint is back

 

Its dark,  Tom Waites meets Jim Jones dark as is obvious on “Reap What You Sow” from the outset.  The swampy ‘Worry Blues’ is edgy and experimental as the devil in Saint bellows from the vocals with the needle in the red, their Gun-Club-meets-Beasts-of-Bourbon vibe is darker and heavier than before, as the band mixes it up with new sounds and new textures. but even before that, the record opens with the smooth Jazzy ‘Hair of my True Love is Ice-Blond’ something even Nick Cave has dabbled with.  Sprawling over five minutes long is a brave opener and you realise straight away that you have to go on this journey with Jack Saint or it’s not worth bothering.

 

It’s raw and in your face. the more Cramps like ‘Moving On (Freight Train)’ is a bit of a stomper and the more experimental ‘Music Against Nature’ is a messed up hybrid of styles that does and doesn’t work so much as it staggers like a late night with Olly Reid.  One of the best tracks is the bruising ‘Severence Till You’ again stuttering and staggering with its heavy guitar sounding like an artillery volley before falling back into the groove.

 

The album closes with the Fuzztones like keys and guitar funk attack and a head explosion of an album is done.  I did enjoy it and will dip in and out over time I’m sure of it.  Late-night absynth induced experiences might help make sense of this record more than just playing it on some streaming site it was made to be indulged after dark and I like that and so should you.

Order yours from heavymedication.com. / Bandcamp
Author: Dom Daley

Randy Rhoads by Ross Halfin Pre sales

Randy Rhoads by Ross Halfin Pre sales

When Randy Rhoads joined the Ozzy Osbourne band at the end of 1979 he not only helped to transform the career of the ex-Black Sabbath front man, he also helped to redefine the metal scene of the 1980’s and has been a prominent influence for hundreds of guitarists ever since and well after his tragic death at the age of just 25 in 1982.

Randy Rhoads by Ross Halfin celebrates his time with Randy and Ozzy Osbourne both on stage and off with hundreds of beautiful, largely unseen images from those early years. Measuring 240mm by 340mm this 280 page coffee table book contains hundred of beautiful images and features an exclusive introduction by Ozzy Osbourne and an epilogue by Rhoads fan, guitarist Tom Morello.

Randy Rhoads by Ross Halfin

The book will be available in three editions:

The standard book: 
240mm by 340mm, 280 page hard back book with printed cover and cloth slipcase £99.00

The Deluxe Signed Leather Edition
240mm by 340mm, 280 page hard back book with blue leather cover, lenticular and white leather slipcase. Numbered 1 to 500
Personally signed by Ozzy Osbourne and Ross Halfin £299.00

The Super Deluxe Edition
297mm by 420mm this 280 page hard back book with blue leather cover, lenticular comes in a special blue slipcase and outer presentation box with three numbered giclee prints. Numbered 1 to 150
Personally signed by Ozzy Osbourne and Ross Halfin £666.00 each. This edition is physically larger than the previous two editions.

PRE-ORDER DETAILS

The pre-sale starts on Wednesday May 12th at 3pm and the book will ship at the end of August 2021.

https://www.rufuspublications.com/rufusbooks/randyrhoads

Ryan Hamilton’s Fifth single of 1221 project

Ryan Hamilton’s Fifth single of 1221 project
“Little babies in bathrooms getting high…”  So begins the fifth single of Hamilton’s 1221 project in an arrestingly ‘did I just hear that right?’ moment.
But before you’re shocked by such imagery, let Hamilton provide some context.
“This song was a gift from my friend, fellow Texas-based artist and all round great guy, Bob Schneider. He’s a true artist, and has a real gift as a songwriter. The lyrics are about how we often revert back to being babies throughout our lives. Bob and I have been friends for a lot of years. He was the first music friend who made me feel like it was ok to be 100% myself. A kindred spirit, and a fellow weirdo. I’m am forever thankful for Bob’s kindness, support, and friendship. I’ve always looked up to him as a songwriter. So, when he sent me this incredible track for ‘1221’, I was honored. Not only is ‘Babies’ a killer song, melodically… I found the lyrics deeply interesting, and powerful.”
Hamilton has already treated us to a brace of choice covers on what – month-by-month – is bringing us his next album. But this Bob Schneider song isn’t actually a cover?…
“This isn’t a cover, no. This is actually a song Bob has never recorded for an album. For him to trust me with his song, and be proud of the version I created is a VERY big deal to me.”
 
We’re assuming that’s (younger) you on the single’s cover art – what exactly is happening there?…
“I found a box of old photos, and this one really stood out to me. It’s all a bit odd. But I was a weird kid! Haha. Yeah. That’s me on the cover. The photo seems to really fit the vibe, and the off-kilter lyrical content of ‘Babies’.”
With UK producer Dave Draper once again at the helm, ‘Babies’ is evocative of the Country vibe central to Hamilton’s 2020 chart topping EP ‘Incommunicado’ (also Draper produced). A certain twang may be customary with a singer/songwriter from Texas, but how does a producer from deepest Worcestershire tune into that Americana sound so well?
“It’s strange how good Dave is when it comes to Country and Americana. He’ll go from producing the Wildhearts to dropping Cliff Richard lyrics to referencing Hank Williams. He’s like a mad scientist! Not only do I love working with him, I think he’s the best Producer out there right now.”
Expanding on the theme, Hamilton enthuses: “I love that the UK’s Americana scene is thriving. It’s humbling to have become embraced within it. The folks at Americana UK are super supportive and I was thrilled to be invited to play Maverick Festival last year. Here’s hoping that can go ahead now in September. Everything crossed.”
Hamilton was recently heralded by Spin magazine as one of the ‘Best Lesser-Known Artists of the Last 35 Years’.
RYAN HAMILTON RELEASES “Babies” 12 MAY 2021, VIA WICKED COOL
LINK TO TRACK PRE-ORDER/SAVE: Here

Luke Haines – ‘Setting The Dogs On The Post Punk Postman’ (Cherry Red Records)

Luke Haines – ‘Setting The Dogs On The Post Punk Postman’ (Cherry Red Records)

Like a note from a friend in exile or a stone in your shoe, depending on your tastes, Luke Haines is back with ‘Setting The Dogs On The Post Punk Postman’. If nothing else, certainly a contender for title of the year. Always prolific, he seems to be relishing the enforced solitude of late, after last year’s ‘Beat Poetry For Survivalists’.

 

This is another strong set of songs, if anything even more satisfying. After only a few plays, I’m enjoying replaying it. As ever, it is unlikely to win him new fans, but I doubt that he cares either way . Which is exactly as it should be for any artist. As Luke has said before, art itself has no actual value, so just satisfy yourself (I paraphrase). Whatever he’s doing, it’s working.

 

You may already be familiar with ‘Ex-Stasi Spy’ and it’s video. The album/cd cover has brief explanations for each song, in an oblique way. “A comedy caper in a Trabant set in 1983”. It matters little, just enjoy some time in Luke’s world. The raucous “U-Boat, Baby” follows. Is this really “the second part of a trilogy…”? Only Luke knows.

 

‘Never Going Back To Liverpool’ tries to patch up some differences with the past. Complete with Beatley backing vocals, it makes me think of the only time I played a gig there. Didn’t go well.

‘When I Owned The Scarecrow’ has a vibe from ‘Rock And Roll Animals’, with the now expected recorders. Or maybe it’s a synth? No sign of ‘recorders’ on the notes. I think about these things too much.

 

‘Ivor On The Bus’ is a lovely tribute to Mr Cutler, a previous neighbour of Luke’s. Julian Barratt adds narration to ‘Yes, Mr Pumpkin’, appropriately, ‘Two Japanese Freaks Talking About Nixon And Mao’ possibly sounds exactly like you would hope. ‘I Just Want To Be Buried’ is a “singular entendre poem”, and as such is a righteous celebration of lust.

 

‘Andrea Dworkin’s Knees’ recalls a possibly accurate brief encounter with the writer, ‘Landscape Gardening’ is “a surgical procedure disguised as a song”, gently addictive, while the title track ends on a pleasingly sinister note. Essentially, no one else writes like Luke Haines. If you know, you know. And, in that case, you will buy this.

 

*Tuesdays, 2-4pm GMT, you can listen to Luke on Boogaloo Radio. It’s righteous stuff.

 

Author: Martin Chamarette

 

REBELLION FESTIVAL 2021 CANCELLED

REBELLION FESTIVAL 2021 CANCELLED

 I guess it was edging ever closer so a decision had to be made sooner rather than later but every cloud has a silver lining and get your diary out and pencil at the ready.

REBELLION FESTIVAL 2021 CANCELLED

 

NO INSURANCE, NO GUIDELINES, NO GUARANTEES, NO RE-ENTRY = NO FESTIVAL!

FESTIVAL CONFIRMED TO RETURN 2022 AUGUST 4TH – 7TH AT THE WINTER GARDENS, BLACKPOOL

www.rebellionfestivals.com

 

 

This time last year the organisers of Rebellion, the world’s largest punk festival, were forced to make the heartbreaking decision to cancel the four-day event due to the global pandemic. A year on and the dedicated Rebellion team are absolutely devastated to confirm that yet again, the hugely-anticipated event, due to take place this coming August 6th – 9th with legendary artists such as Circle Jerks, Bad Religion, The Undertones, Tom Robinson and Stiff Little Fingers, at The Winter Gardens in Blackpool, is no longer able to go ahead.

Despite the intention, desire and willingness of Rebellion, the venue, the bands and the local businesses for this year to go ahead, it has become increasingly clear that due to circumstances beyond the festival’s control, it can’t. With no clear guidelines from the government in terms of insurance, guarantees, policies on re-entry, testing and potential vaccine passports, the festival simply can’t go ahead.

Rebellion has been open and transparent throughout this pandemic and were hopeful (but cautious) about this year but required a few essential things to be confirmed for the event to go head. The feeling is that music festivals are being ‘timed out’. No one is saying they CAN’T go ahead, but nothing is in place yet that means they CAN either. That is why the last few weeks have seen many independent festivals take the tough decision to cancel.

All of this, combined with the ongoing global travel restrictions means that Rebellion would not be able to put on the event that they desire, and their audience expects. The Rebellion family is global. Around a third of the people that attend are from overseas and with no touring bands (many agents and bands from overseas have pulled their European tours and rescheduled them for 2022), it would simply not be the festival that Rebellion wanted to stage.

But there is some good news. Rebellion 2021 has been moved to 2022. Both 2020 and 2021 tickets will roll over to 2022. For those of you wanting a refund, visit the website where full details are published. All day tickets will be refunded automatically.

REBELLION 2022 is 4th – 7th August. So put that in your diary! Some surprise headliners have already been confirmed, plus many reconfirmed that were due to play this year. And don’t get rid of your hotel or B&B bookings for this year just yet as there is still hope that some kind of scaled back event this year is possible. Watch this space.

Tickets for 2022 will go on sale on Monday August 9th.

The RETURN OF REBELLION 2022 is going to be massive! The exciting news is the council have agreed for the festival to have the area of the promenade right in front of Blackpool Tower (Tower Headland, on the ‘comedy carpet’). This is an amazing space for an outdoor stage. A straight walk down from the Winter Gardens. Rebellion can double the capacity with this area and have some fantastic plans to make both sites amazing.

To better times. And a colossal Rebellion 2022!

 

For full statement read here: www.rebellionfestivals/news  Head to www.rebellionfestivals.com for more information.

 

Twitter: @rebellionfest  Facebook:  Facebook

 

 

STEVIE R. PEARCE AND THE HOOLIGANS, Tour Dates & Album details

STEVIE R. PEARCE AND THE HOOLIGANS, Tour Dates & Album details

UK rockers, STEVIE R. PEARCE AND THE HOOLIGANS, have announced tour dates for their second studio album “MAJOR LEAGUE SON OF A BITCH”, which will be released in August via Heavy Rocka/Cargo Records. The album sees the introduction of Carl Donoghue and Lance Skybaby to the all new 13 tracks.

 

MAJOR LEAGUE SON OF A BITCH Tour Dates so far:

Aug 27th – Melbourne Rock Club, Mofest
Aug 29th – Crazy Cowboy Festival 6
Sep 02nd – Trillians, Newcastle
Sep 03rd – Nightrain, Bradford
Sep 04th – Bannermans, Edinburgh
Sep 10th – The Waterloo, Blackpool
Sep 11th – The Facebar, Reading
Sep 17th – The Patriot, Crumlin, Wales
Okt 01st – The Old Salutation Inn, Nottingham
Okt 02nd – Mogstock, Record Junkee, Sheffield

 

Rainy Days & Mondays

Rainy Days & Mondays
First up this week we have the new track from the forthcoming DeRellas album.  A rework of a familiar track sounds excellent it’s taken from the album ‘Something’s Got To Give’ which should be with us very soon.

WALKING PAPERS RELEASE LATEST VIDEO FOR “CREATION REPRODUCTION AND DEATH” FROM CRITICALLY ACCLAIMED THIRD ALBUM, ‘THE LIGHT BELOW,’ OUT NOW VIA CARRY ON MUSIC

SUZI MOON, the newest member of the Pirates Press Records family, has just released her second single for “I’m Not A Man.” The song comes from Moon’s upcoming Call The Shots 3 song EP, the debut solo release for the former CIVET member and TURBULENT HEARTS frontwoman.  but there’s no video yet so check this banger out

 

Finally how about some dirty hard rock in the shape of Sea Of Snakes.   “Ride the Line” via Metal-Temple. The song is from their recently released album “World On Fire” which came out via Metal Assault Records.

 

Gilby Clarke – ‘The Gospel Truth’ (Golden Robot Records)

Gilby Clarke – ‘The Gospel Truth’ (Golden Robot Records)

While he will always be known as the guy who replaced Izzy in Guns n’ Roses, Gilby Clarke has always been much more than just the Ronnie Wood to Slash’s Keef. When he left Guns n’ Roses in 1994 he went on to release arguably the best solo album by any member of the band with ‘Pawnshop Guitars’, proving he was always more than just a hired hand.

Gilby went on to release 4 quality solo albums in the late 90’s/early 00’s to much critical acclaim, yet little commercial success. The following years have seen the singer play with Slash’s Snakepit, Heart and MC5, as well as fronting the Rock Star Supernova project.

Now, 20 years after his last solo offering ‘Sawg’, Gilby returns with his new album ‘The Gospel Truth’. It was self-produced, written and laid down at his LA recording studio Redrum Recording, before lockdown was even a thing.

 

The thing I like about a Gilby Clarke album is you know what you are going to get. Let’s be honest here, he ain’t reinventing the wheel with his low-slung rock n’ roll tunes, but he has never claimed to. Gilby is just having fun writing and recording top quality tunes influenced by his heroes, pure and simple.

And the essence of loud guitars and rock n’ roll is evident from the off on the opening title track. With a killer, driving bassline, a cool ramshackle riff and those unmistakable raspy vocals, its low-slung rock n’ roll at its finest, delivered in the same vein as ‘Cure Me… or Kill Me…’ from that classic debut album. The cool female backing vocals add some soul to the rock n’ roll goodness here, which only helps to make a cracking opener.

‘Wayfarer’ follows, probably my current favourite song. Overly cool bass, handclaps and organ take us down a bluesy, well-travelled road. Again, some great backing harmonies that give a west coast vibe, you will keep returning to this one, believe me.

Motley Crue legend Nikki Sixx and Jane’s Addiction drummer Steven Perkins add their respective talents to ‘Tightwad’, a solid enough punky rocker where, funnily enough the bass is not as prominent or as cool as in the opening one-two.

Elsewhere, ‘Violation’ is full of punky attitude and NY garage rock goodness. A New York Dolls kinda riff gives way to honkytonk piano accompaniment to create a backstreet anthem that gets better the more you crank it. Funnily enough, this works just as well with ‘Rock N Roll Is Getting Louder’, where the killer bass groove returns. Add cowbell, a lyrical theme of motorcycles and guitars, then shake it but don’t stir it, and you have an instant classic Gilby track.

 

The warm production is perfect for the laid-back groove of ‘Rusted and Busted’. Again, a slow burner that benefits from repeated plays. Overdriven power chords, handclaps and that unmistakable vocal drawl, blend together in harmony, what’s not to like here? Closer ‘She Won’t Fight Fair’ is a goodtime glam stomper. A cool riff and powerhouse drums drive the song along towards an anthemic chorus with just a hint of Adam and The Ants in the backing vocal department if I’m not mistaken.

 

‘The Gospel Truth’ is a solid return to form from Gilby Clarke. No cover versions, no ballads, just 10 killer, groove heavy rock songs, influenced by the songwriter’s love of English bands like The Faces and The Stones. Sure, it ain’t no ‘Pawnshop Guitars’, but it is a fine collection of effortlessly cool songs, delivered with the fire and passion of a road worn rock n’ roll veteran with nothing to prove and much still to give.

 

Buy Here

Author: Ben Hughes