As I load up the virtual player, I can’t help being drawn back to a time when oil lamps were/ are the thing, pulsing light shows that emphasized the psychedelic sounds coming straight out of the physical media. Those days of 60s Psychedelia where bands like The Chocolate Watch Band. The Strawberry Alarm clock, The 13th Floor Elevators, The Seeds, and even the Fledgling Stooges formed a real soundtrack to the times, songs for the Counter Culture, the coolest of Generations so to Speak.

Why am I waffling away about 60’s underground Psychedelia, lesser-known Garage rock on such a Hip website? Somewhere the cool cats browse? Somewhere bang up to date? The answers in the Title and the fault lies fully with the Fuzztones and this updated remixed and expanded version of Preaching to the Perverted. No this didn’t come out in the 60’s it was first released in 2011!!! And really should have formed part of everyone’s collection back then. But you now have the chance to reinvigorate your taste buds and enter the weird and wonderful world of the Fuzztones.

This LP as you listen now is really a teeny bit special and only with I think the passing of the 12 years almost since its release do you realise how important it’s impact has been on the underground now and how many bands have been influenced by The Fuzztones.

 It takes you through a history of Psychedelia, from the lighter opening tracks such as My Black Lines and Between the lines to the almost Garage Punk intro to Set me straight (It could really be Stiv Bators singing the opening), before we move into the Psychedelic Blues of Don’t speak ill of the Dead. That R&B and Psychedelia vibe further combines with a Harmonica straight out of Hell within Old. But when you slip into next up Leave your Mind Behind your fully in the Freak scene, before Bluegrass???? Takes the lead and the whole trip takes a really weird turn, this could have come straight out of The Legendary Shack Shakers songbook!!!!

Before you realise that time has stood still, the trips almost over and we’re dropping/sinking backward into Lust Pavilion. As the Music slows the pulsing images start to subside and we drift back into our own reality our time in the ether almost complete, we head to a finish with almost a gospel-led vibe within Bound to Please underpinned with some straight-up Garage Rock Soloing, before we flashback via a bastardised Jazz intro/outro via Come to Me.

Get on the Fuzztones trip baby, and become one of the converted but remember with every trip there’s an up and down time, this Bastard Pulses. Rises and falls and takes you to some really strange places, Enjoy the ride.

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Author: Nev Brooks

Steelhouse Festival are elated to announce that the Saturday headliners for the 28-30 July 2023 weekend are now in place. Australian hard-rockers Airbourne are confirmed to make their Steelhouse debut, in their only UK festival show of 2023. With more truly exciting announcements still coming down the track, we also already have more incredible bands locked in right now, including Friday headliners Kris Barras, plus The Answer, Blues Pills, Florence Black, The Vintage Caravan, The Damn Truth, Austin Gold, Kira Mac, Empyre, The Cruel Knives and Jordan Red

Buy tickets Here

Over a decade has passed since the inaugural Steelhouse in 2011, and the Festival at the top of the mountain boasts not only the best views of any UK rock event but one of the most passionate, friendly and loyal followings. With a reputation for not only bringing in the biggest and best names from the international world of Rock, Steelhouse also understands the role it can play in throwing open its prestigious stage to the best of the new breed of bands. It all adds up to a compelling mix of classic and cutting edge, old and new, near and far –  in this announcement alone we have acts from Australia, Canada, Sweden, Northern Ireland, Iceland, England and the Steelhouse homeland of Wales.

Airbourne said, “Wales! What’s crackin!! Are ya ready to rock or what!! We’ve bloody missed you! We’re pumped to finally get our arses back up your way to rock your mighty Steelhouse! Tons of great bands on the bill, it’s gonna be a great summer weekend of boozin’ good times and Rock’n’Roll, can’t wait for it! See ya in July Welsh rockers!! Rock’n’Roll TO THE F*****’ MAX!!!”

Promoters Max Rhead and Mikey Evans said, “Australia – one of the hardest rocking countries on Earth…Its fine lineage of world-class artists is legendary, especially those whose names begin with the letter ‘A’!  And with that, we are so proud to bring Warrnambool, Victoria’s finest rock n roll machine, Airbourne to South Wales next summer… Theirs is a show that, in the greatest Antipodean tradition, carries maximum high-voltage, full-tilt, blood, guts and thunder… Everything is left on the stage. Their Steelhouse debut heads up this first round of announcements which is heavy on talent from around the globe. Canada’s The Damn Truth and Icelandic trio The Vintage Caravan also make their first trips up The Mountain whilst SH2023 sees the welcome return of Sweden’s Blues Pills and Northern Ireland’s, The Answer. Add to that the very best new talent from England as well as our very own local lads – the German stadium-strutting Merthyr massive, Florence Black, we’ve got a bill that rocks hard and that gathers the best of international talent in July 2023. There is a lot more to come, including another international, globally renowned artist who’ll be making their first Steelhouse headline appearance… 


So, once again let’s get ready to Rocio y Mynydd / Rock the Mountain!

It’s been a while since I dipped into the Ruts DC sound, even longer since I caught them live, way back in the Melkweg in Amsterdam with Johnny H and in truth a break from a Brutal afternoon of Gimp Fist, Lions Law and Discipline!!!

But on to this baby, welcome to One of my Favourite LPs of the year so far in a year that’s had some real blinders. A reminder of the times we’re living in, while also reminding us that Punk has a voice, and sometimes it just has to be listened to.

Opener Faces in the sky is one of the strongest openers to have hit these ears in a while, then Caught in the Kill Zone just moves it up a gear!!! That guitar sound that we all love front and centre.

Next up X-Ray Joy, shifts sound and focus, much lighter before things again move up a gear the sound just washes over you, drawing you in deeper and deeper. There’s the merest hint of a reggae skank to the beginning of The Question is before that Bass run takes over and that stabbing punk guitar nudges you reminding you of where the Ruts come from, where the sound is grounded, a societal scream of anguish, a story waiting to be told. Born Innocent gives you that hint of a dub reggae opening before the message in the lyrics stands tall and we move into some gorgeous lead guitar work.

Next up Counterculture again draws on that Ruts heritage, the guitars picking at you, “Whatever happened to the Counterculture?!” standing tall as a vocal refrain, probably standing up as my fave track on the LP. Too Much has an almost soft rock intro before that’s put firmly in its place and we’re back into that guitar sound we all know so well.

Truth be told there isn’t a weak track on this LP!!! Definitely, an LP for the times we’re struggling to survive in, led by the latest Tory Austerity measures, paying astronomical bonuses to the bankers (Give it 5 years and we’ll be bailing them out again) with Energy suppliers bleeding us dry, more than ever we need to turn and embrace the Counterculture, giving that light of Hope that music provides.

Fair play what an LP!!! Get in there!!!

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Author: Nev Brooks

Another day another version of To Hell gets released. This one though features sleevenotes from Matt Dangerfield along with never before seen photos taken at the 1979 recording sessions at Nidaros Studios and a full lyric sheet. It’s available in regular black and limited edition blue vinyl from Mad Butcher Records. Originally released on CD by Casino Steel’s Revolution Records after the band had split. ‘To Hell’ might just have taken their power pop notoriety to the next level it had a little something extra and was the sum of their parts all rolled into one fantastic album they were no longer the punks of the first wave they were more than that and anyone who read previous reviews and interviews will know that The Boys are a massive influence on the records we play around HQ. ‘To Hell’ was given a kiss of life for record store this year but this has to be the definitive mix (being the original mix) it doesn’t have the original sleeve artwork but then Who doesn’t love a new fresh mix of a classic album? I certainly do and although it’s been a while since I spun this on vinyl I thoroughly enjoyed hearing a not-clicky-popping version that wasn’t a CD.

It seems a bit weird looking at the artwork and it not being the blue and red lit sleeve and this version is such a great cover in Black & White looking so youthful in black leather. A Japanese compilation came out on CD about seven years ago with this very image but like the music – not quite as sharp.

‘To Hell With The Boys’ curiously opened with an instrumental cover of ‘Sabre Dance’ and quickly bled into ‘Rue Morgue’ Johnny Thunders and Hanoi used to open their sets with Pipeline and I always saw this as the same kinda deal. ‘Rue Morgue’ being a swirling ball of energy and fine musicianship. The Keyboards punching in and out layer the track perfectly. The album contained one of those soft songs for hard men in the shape of the massively popular ‘Terminal Love’. ‘To Hell’ always had a great flow to the tracklist I love the rawness of the guitars on ‘See Ya Later’ a song that still features heavily in their set list to this day and it’s not difficult to see why. The same can be said for the ballad ‘You Can’t Hurt A Memory’ again so far from the punk bands of the day it’s a beautiful song with a great feel to it from the crisp piano intro and harmonies to the chorus. It’s also almost as long as a lot of punk rock albums on its own. Often described as Lennonesque, it’s certainly got similarities in the vocal effect but I always loved the harmonica and where it speeds up it’s got more in common with Mott The Hoople or The Stones in my humble opinion and that saxophone is a great piece of arrangement. ‘Kamakazi’ continues the use of sax again an influence on Hanoi Rocks no doubt about it. what’s not to like about songs about bikes and Rock and Roll.

I guess it’s fair to say the band was really mixing it up with the tracks like the powerful ‘Lonely Cowboy’ or the Reid written ‘Waiting For The Lady’ they really were a band that had a whole bunch of excellent songwriters and not just one. Each added their own special ingredient to make a well-blended record that flowed better than its predecessors.

rounding off the record as it was originally intended there are no B sides bonus tracks its just the ten of the best from the Boys ending on the Lennoneque ‘Independent Girl’ and then we were done. As good a power pop rock n roll album as you could ever wish to hear and with it being the original mix it’s a beautiful moment in time captured forever. ‘To Hell With The Boys’ is an album that should have wide appeal and one that should be played loud and often. To hell with whatever you had planned get on this bad boy before they’re all gone. Quite simply an essential purchase – Get one!

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Author: Dom Daley

Australian garage rockers Civic follow up their impressive EP and album with a brand new video off their second full album release. Hot on the heals of ‘Future Forecast’ the Australian garage rockers tease with the first video lifted off the record ‘End Of The Line’. ‘Taken By Force’, is released on ATO but will also be sold through Rough Trade for UK fans which should help keep the shipping costs down. The follow-up to the Melbourne quintet’s 2021’s debut ‘Future Forecast’ was recorded in the countryside with Radio Birdman frontman Rob Younger as the producer The band spent long days holed up with Rob and the finished record looks set to propel the band to a wider audience. Pre-order the album Here

The Black Halos are back and the Darkness has Doubled! since ’94 The Black Halos have been at the forefront of punk n roll when the world was shoegazing and not wanting to look or sound like they were in a gang or band of brothers, bands like The Black Halos were a much-needed shot in the arm and above all they had songs. Plenty of em and they were fan-fuckin-tastic!

The self-titled debut was a much-needed shot in the arm and to follow it up with the magnificent ‘The Violent Years’ the band could do no wrong. They were on MTV and all was good.

With two further albums and some line-up changes, they were still contenders and I loved those albums but something was missing. Now original members Billy Hopeless, Rich Jones (guitarist with Michael Monroe, Ginger Wildheart, AMEN), and Jay Millette, have got the mojo back for the band and that X Factor is right up front and centre on this new album. Joined by new boys John Kerns (The Age Of Electric) and Danni Action (ACIIDZ) the rhythm section is on fire and stoking the furnace in the engine room for the band to truly set ablaze these new songs.

After a few singles that came out ofver the last couple of globally troubled years, we need bands like The Black Halos out there doing it and leading the way for honest, beautiful punk n roll. when they released the singles the sound was there and the tunes were easily some of their best ever written and recorded – maybe their time apart was needed to rebuild and come back stronger and wiser.

The album, recorded in Toronto and mixed by Dave Draper (The Wildhearts, The Professionals), as the guitars kick in on the opener ‘A History Of Violence’ the years just peel back and twenty years melt away. Its got adrenalin, melody, and the familiar Black Halos gang vocals and we’re underway with a Cheshire cat grin knowing that shit just got serious and The Black Halos are in the fuckin Room!!!

the record sounds amazing and ‘Tenement Kids’ opening lick sounds like classic Manic Street Preachers if only they had the bollocks to turn up their guitars its a belter of a song that will leave the intro lick inside your head to just sit dormant before growing over time and before you know it your singing along – classic Halos. A couple of the previously released singles get a look in with the lyrically astute ‘Uncommonwealth’ that just rumbles along like a prowling hungry pissed-off beast. It was a great single but in the mix of this record, it sounds brilliant. The relentless slap of the snare and repetitive chant is pure Halos.

‘Forget Me Knot’ is a confident stab with some magnificent backing vocals and the whole arrangement is one of their finest – its fair to say these gents live it and love it and on songs like this champion it and so they should. They mix things up on the song ‘Better Days’ adding variety on the guitars and it has to be said Billy’s vocals are sandpaper wrapped in a velvet glove his melody is exceptional and again I have to return to the arrangement – its so well delivered it sounds like we’ve been playing it for years never mind a mere couple of weeks, these are better days indeed with a soundtrack like this.

With eleven originals and one amazing cover, this record is unquestionably one of the best records I’ve had the pleasure of all year and it’s so pleasing to hear a band I love absolutely deliver the goods and some. There isn’t one second that doesn’t deserve praise and I’ve heard a lot of music this year but this sounds special and the more I’m playing it the more songs are jostling for positions with a solo that stands out here or a melody there it’s honestly that good. ‘All My Friends Are Like Drugs’ or the epic and heartbreaking ‘Ain’t No Time To Say Goodbye’ written for Mr Chi Pig (SNFU frontman) it was and is one of the best singles I’ve heard for several years, I must have played this song a thousand times since it was released on yeah right! records back in August 2020 if you’ve never heard it then there is no better reason to get a hold of this album right now its one of the best songs the band has ever written and that’s not even up for debate.

In the belly of this here record, you have a cover of The Wanderers ‘Ready To Snap’ which was a fantastic tune, and roping in legend Michael Monroe to handle vocals alongside Billy makes perfect sense, and boy this is how to do a cover from the passion in both vocalists delivery to those backing vocals this song goes to the next level. If I haven’t done my job and whet your appetite for this album then I can only apologise to the band, the label, and to people who still believe in Rock and Roll and its amazing powers if you only buy one record this year then I suggest you beg, steal or borrow a copy of ‘How The Darkness Doubled’because it is a relentless, high-octane blast of classic Halos punk rock ‘n’ roll! and one of if not the best record released in 2022. How’s that for leaving on a ‘Positive Note’ now getoutofhere! you beautiful bastards! The Black Halos have just nailed it…again!

Buy Here / Amazon UK

Author: Dom Daley

Back in the mists of time when I was a young lad I had a friend at School who had been on a trip to London where he went to shades record shop and returned clutching an album by a band called Hellhammer, Remember this is pre-internet, no google, no Discogs, no amazon, no super internet it was a flick through Sounds, Melody Maker, NME or Kerrang for your fix of what’s hot or not and even then for us kids in the sticks it was a process of saving up and take a chance. That ‘Apocalyptic Raids’ was a gateway into a sound that was perfect for us kids who loved a bit of punk and also the allure of a bit of metal, it was dark, dangerous and fascinating, throw in some dark occult imagery into the mix and our parents would hate it so it was always a winner.

I read recently an interview with Tom G Warrior where he described their sound as musical anarchy (even though Warfare were metal anarchy) he wasn’t far off the mark the music was indeed extreme and mixing up the punk of UK82 hardcore and metal it was perfect. We already loved Venom and Motorhead and what was going on over the pond on the West coast was taking hold it was exciting to trade tapes and get to hear what was coming out of Europe.

Hellhammer became Celtic Frost and the rest is history alongside VoiVods ‘War And Pain’ a few of the Venom albums Celtic Frost was really pushing the boundaries and doing it better than most. For a few short years, Celtic Frost were the bees knees and released some seminal albums that became harder to find than hen’s teeth so ‘Danse Macabre’ is a much-anticipated release and when opening the box the package that’s been put together is of the highest order and right up there with the complete Venom boxset which is the absolute pinnacle of how to do a boxset this isn’t far behind.

Released as a plush five-CD set including all the albums from the period a smart pin badge, a patch double-sided poster and a really interesting book. Noise deserves some credit for delivering such a good set. ‘Danse Macabre’ vinyl set captures the raw excitment and new age dawning in extreme metal and the ambitious direction these Swiss and American band were taking their music. ‘Morbid Tales‘, ‘To Mega Therion’ and ‘Into The Pandemonium‘, the marble color vinyl box set also includes the ‘Emperor’s Return’‘Tragic Serenades’ and ‘I Won’t Dance’ EPs, along with ‘The Collectors Celtic Frost’ compilation, a 7″ of ‘Visual Aggression’ and a cassette of rehearsals recorded at the band’s Grave Hill Bunker. A 12″ x 12″, 40-page book, brings together photography — some previously unseen — from the era and brand new interviews with Tom Gabriel Warrior and Reed St Mark. A Heptagram USB drive contains MP3 audio of all the albums, including bonus tracks…and breath.

How’s that for a comprehensive round-up? Always pushing the envelope, it’s mad to think the band was still just snotty-nosed kids when Hellhammer was a thing then through ‘Morbid Tales’ and then the classic ‘To Mega Theron’ and ‘Emperors Return’ it was a blink of the eye and they were gone. Some of these haven’t been pressed on vinyl for the thick end of forty years (37 to be exact) so it’s a veritable feast for fans old and new the CD version are gatefold with vinyl-like mini inserts but people of a certain age-who will be on the end of the hook might need some reading glasses to appreciate fully the detail. that aside this set is an absolute no-brainer The omission of the third album might be an elephant in the room but had ‘Cold Lake’ been included it would have been complete, regardless – Go buy one – Now!

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Author: Dom Daley

Formed in the winter of 2001 from the ashes of Silver Tongued Devil, The Cheats decided to create the kind of band that was lacking in their hometown of Pittsburgh, PA – an old-fashioned, late-70’s-style punk rock ‘n roll band. Led by vocalist Todd Porter, aka Todd Cheat – former frontman of Silver Tongued Devil (People Like You/Century Media) and Eviction (Metal Blade), the ever-evolving line-up logged many miles on tour, adopting the DIY punk attitude that is crucial to the scene.  
 
2022 marks The Cheats 21st year as a band and they are celebrating with this compilation of 21 cover tunes. Some of these fun tunes have been released on early albums, compilations, 7”s, some were recorded and haven’t seen the light of day and some are fresh out of the studio. ‘XXI’ is not available in stores and is being released as a limited edition, fan club-only album.

Kicking off with an excellent sloppy party anthemic take on the Joneses classic ‘Pillbox’ and to be fair they absolutely nail it with the gang vocals and the punk n roll tones it has energy and the tune rings out loud and proud. To be fair The Cheats selection is stunning from Demolition 23 and The Joneses through Backstreet Girls and The Dogs D’Amour they also take ownership of the Quireboys classic ‘7 O’clock’ and who wouldn’t cover the Dead Boys?

‘Hammersmith Palais’ is snotty as fuck whilst their sprightly take on Cheap Tricks ‘Surrender’ is rapid and a heap of fun. ‘Hanging On The Telephone’ is excellent and these guys clearly just get it you know the whole punk n roll vibe they clearly love it and live it and I love that. It would be so easy to miss the point and deliver these songs (as good as they are) in a weak going through the motions but I’m delighted to report that the Cheats could never be accused of falling into that trap because there is nothing lame or going through the motions here they pretty mcuh nail every single track and take ownership of some pretty iconic tunes.

The fact they didn’t go for the most popular songs by these influential bands is a credit to The Cheats ‘I Don’t Want You To Go’ sounds joyous and they’re having the best of times running through such classics. ‘All this And More’ is a blinding tune anyway and they nail it. I didn’t know the Quireboys could sound so sleazy and punky and they hit their peak on those backing vocals. Hell, I’ll get the beers in if you come over to the UK and we’ll have the best house party ever. Sure songs like ‘Born To Run’ have been done and done really well before (Frankie Goes To Hollywood) but why not? you have to drop some big bombs every now and they it makes the lesser-known classic stand tall next to the big hitters.

Hearing Love and Rockets or Oasis next to The Dogs D’Amour and Demolition 23 is superb the Cheats I bow down to your exquisite taste in Rock and Roll and the fact you’ve been slogging it for over two decades is superb and I and RPM Online salute you. you deserve this moment and its fair to say you nailed it! Rock on brothers, Rock on!!

www.therealcheats.com
https://thecheats412.bandcamp.com/

Author: Dom Daley

The second album from the Norwegian high-octane rockers The Gasölines! The band embodies the whole greasy, dirty liquor-swigging Rock and Rollas. they embrace every cliche and wear it like a badge of honour and why the fuck not? They riff on a steady diet of what’s gone before them from the 1950s through the 1990s and into the 2020s. With a rigid middle digit in the air and smoke coming off the oil-soaked floors turn this sucker up!

“We didn’t invent the wheel on this album. There’s no need to. Rock will forever kick the elite hipsters’ asses with their man buns, fancy coffee, electric kick scooters and vegan smoothies. This is pure rock’n’roll with proper amps, only mics on drums, no autotune, just four guys having a blast in studio”, says Morten Gasöline. A big antagonistic claim that you just have to back up. Cars, Beer, Women, gambling all the ingredients that have been a staple of this genre.


The album kicks off with the DC riff-a-rama of ‘Rum Runner 500’ with its solid beat and wailing solo as the riffs come hard and fast. It’s exactly what I was expecting and true to their words the band pile in – it’s macho and whilst its not original at all its authentic and they certainly sound like they walk the walk. The pace is picked up on ‘Grand Prix’ as they shift through the gears and turn up the tempo for a much better song.

To be fair ‘Dragstrip Inferno’ is sort of a halfway house of the opening two songs with wailing guitar solos and more lyrics about fast cars it doesn’t take a genius to work out what these cats are all about. when they break away from singing about motors ‘Hellbreaker’ bursts into life on a rumbling bassline that is thick as a builders sandwich and they hit a decent groove. The track ‘Snakebite’ is more of the same (surprisingly) sounding like a Gene Simmons Kiss song with a growling gravelly vocal over a solid backbeat.

You also get some punk rock n roll in ‘Burning Dice’ and a little of what they were probably listening to before heading to the studio as some Dirty Deeds era DC filters through their DNA. Spread out over ten tracks it’s a heavy beast and at times laces a little variety but when they hit their groove they sound on fire. Turn it up kids it’ll annoy your parents as their forefathers did and that’s always a great starting point. Play Loud! Like the band obviously did when recording this beast and the artwork is awesome and reason alone why you should check these out.

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Right now in 2022 they may not openly want to admit this, but there was a time back at the start of the ‘80s when the uber cool indie Spillers Records emporium in Cardiff, Wales, really was the place to go for all your US metal needs. If you wanted to hear Y&T’s immense ‘Earthshaker’ record, or be knocked bandy by The Rods self-titled platter following both of them getting rave reviews in Sounds that record shop was where you would find them. You could keep the NWOBHM, that was already old hat by 1982, especially when copies of the “life changing” (not only for the band, but for us too) self-financed debut record from a certain LA based band known as Motley Crue finally made its way across the Atlantic and into the window of a certain shop on the Hayes.

I remember it like it was only yesterday, looking in the right-hand window of the shop and seeing that leather groin cover staring right back at me. It’s import price tag would certainly have meant me forgoing a few other music purchases that month, but following yet another rave review in Sounds just a few weeks earlier for said album I just had to have a copy, and boy oh boy was it ‘Red Hot’…no wait, that came a couple of years later didn’t it. Ha!

Let’s face it, Motley Crue never topped that self-released debut record, in fact they then went on to completely ruin it just a few months later with a godawful Roy Thomas Baker remix of it pre the release of ‘Shout At The Devil’. However, via that legendary 10 track Leathür Records version they introduced a whole new generation of cool kids to the visual and aural delights of glam rock, their influence stretching all the way from the Starwood, Whisky a Go Go, and Roxy music venues of their home county right through to Bogiez in Cardiff, where if you asked the likes of Rankelson and Tigertailz who they really wanted to be, Motley Crue would have been top of the list.

So, what the hell has all of this got to do with ‘Bound For Hell: On The Sunset Strip’ I hear you ask? Well, this 21-track compilation of the LA bands that didn’t quite have the same worldwide influence as Motley Crue, takes you on a journey back in time to a place where there weren’t all the sub-genres that metal/hard rock is plagued with today and every new band was seemingly just looking to have a good time, whilst making, what they thought was, awesome music in the process.

Of course, the reason a majority of the bands captured here never got further than playing mainly local shows was because they only had maybe one or two great songs at most, but just like the four amazing, ‘JobCentre Rejects’ albums proved for the lesser-known bands of the NWOBHM scene, there’s certainly nothing wrong with doing a deep dive into the underbelly of a scene, as you never know quite what long lost musical gems you might find.

Case in point here being the opening double whammy (bar) of ‘Going To The City’ by Stormer and ‘Cocaine’ by L.A. Rocks, the former a glorious slab of Van Halen influenced rock shot through with some angelic (as in Punky Meadows’ band not Mensi’s mob) vocal harmonies whilst the latter could very easily have come from an early Tygers of Pan Tang release, and in the process sounds like the start of the NWOLAM movement that never quite got past the release of this 1979 released single.

The juxtaposition of these lesser known bands and how they deserved (in some cases) to sit alongside those that then made it to the next level by signing major label deals is exemplified well here via the likes of Lizzy Borden, Armored Saint, a very raw sounding Black N’ Blue, and Rough Cutt all getting a look in alongside the likes of Odin, V.V.S.I and Knightmare II, and if you were wondering if the female end of the scene is represented then the likes of (the Rock Goddess sounding) Jaded Lady, (the Maiden-esque) Hellion, (the more new wave/Benatar sounding than I expected) Bitch, Leather Angel (who featured Terry O’Leary who then went on to write better material with Jaded Lady) and the melodic rock of Lisa Baker are all here to show you it wasn’t just the men who got to wear the eyeliner and Aqua Net back in early 80s LA.

There are a few possible turkeys included, because not everyone is going to be the next Van Halen, but I’ll let you decide which tracks you might want to flick through, as I found myself compelled to listen the whole 21 track onslaught, largely due to the brilliant 144-page coffee table book written by Katherine Turman (co-author of Louder Than Hell: The Definitive Oral History of Metal) that accompanies the deluxe 2LP box set. This is a book that takes you on a band-by-band rollercoaster ride through the LA scene, and unveils many interesting facts along the way, like Black Sabbath’s Bill Ward once briefly being a member of Max Havok as were Quiet Riot’s Carlos Cavazo and W.A.S.P.’s Tony Richards. Who knew that eh? Not me.

The perfect companion piece to Deadline Music’s excellent 2005 released ‘Hollywood Rocks’ box set ‘Bound For Hell: On The Sunset Strip’ is available to pre-order right now across a multitude of formats to suit all budgets, starting from an entry price point download or CD and going right up to the 500 only coloured vinyl Poser Proof edition wallet buster.

This is not just a set for heritage rock fans though as ‘Bound For Hell: On The Sunset Strip’ awaits a whole new generation of rock fans to influence and corrupt.

But it Here

Author: Johnny ‘Aquanet’ Hayward