Taken from their fantastic new record out now on Damaged Goods Records ‘Back In Mono – B-Sides & Outtakes’ available on 10” and CD which is out now on Damaged Goods
The Courettes continue their tour tonight at The Moth Club, Hackney with support from The Shadracks.
The remaining dates are….
8 June London The Moth 9 June Brighton The Albert 10 June Middlesbrough Westgarth Social Club 11 June Glasgow McChuills 12 June Edinburgh Voodoo Rooms Ballroom 14 June Newcastle The Cluny 15 June Liverpool Zanzibar 16 June Manchester Night & Day 17 June Folkestone Chambers 18 June Southend The Moonraker
It’s Ho-down time and a big rousing yeehaw! from RPMHQ as we get the horses ready to saddle up and ride on outta town with The Sweet Things on the stereo and a bunch of new tunes in our hearts as these Bluesy Rockin mofos hit all the sweet spots with their take on Sleazy Rock n Fuckin Roll.
It’s been a while and not without its bumps in the road but these East Coast rockers are back in the saddle and going guns a blazing once again. They absolutely nail that bluesy soul-drenched Rock n Roll sound that so many bands miss the point of playing right. It’s either in your soul or it isn’t and if you force it you miss the point. Growing up on a steady diet of Keith and Ronnie riffs and some sweet soul music for the down times has stood these cats in good stead for writing authentic Rock n Roll. Whilst the devil might only have made it to Georgia he sent his forwarding address for those who wanted to sell their soul for some top tunes.
The album kicks off with a swagger and a swirl of the organ before the barroom descents into a maelstrom of heaving slide guitar and toe-tapping boogie. Hell, there’s enough whisky-soaked energy in this self-titled opener to put a big shit-kicking grin on a corpse. The hook on the chorus is delicious and they throw the kitchen sink at it and boy it just hits the spot.
They’re sitting out on the porch for ‘Ya Know I Don’t Mind’ and a laid-back Primal Scream meets Jagger swagger floats by. Man, there are several factors needed to pull this shit off and handclaps are a massive tick of that box and the subtle swirl of the keyboards gives it depth to carry home those light acoustic guitar chords. It’s inner-city countrified blues alright.
It’s time to rev up the engine for ‘Ride It Home’ and make a quick dash across the border. IT’s plain and simple Rock and Roll kids but it’s done properly and again The Sweet Things nail it. Like they nail it on ‘Keep On Movin’ that’s got me thinking of early Green On Red – maybe they were torn from the West coast with this uptempo jaunt with its carefree lyrics it’s another side step on their musical journey that’s flowing finding its way through all the twists and turns life throws their way.
There is a big Ballad in the shape of ‘Ain’t Got Enough Room (In My Heart)’ but in a 70s vibe and not some manufactured cheesy way. Sounds like they’ve been let loose on daddys Glen Campbell records that were tucked away in their early 70s Stones records. I wasn’t going to mention the Faces but I got ‘Cold Feet’ and had to mention them as a major influence from the ballads to the keyboard barroom rockers that pepper this record but its not just a rip off as the vocals are quite different as is the welcome addition of those horns which add colour and depth all over the place and who doesn’t love a “Whoo-Hoo”? Can I get a Hell Yeah! ‘Familiar Face’ is finger-licking – finger picking honky tonk as we kick back and settle in on the rocking chair and let the booze take effect as the stereo player gets louder.
Blow that harmonica as the military snare gets beaten, the Sweet Things get the ladies to howl the chorus as the gypsy blues bop n stroll wanders by with some fine Woody slide takes the chorus home. As we head home into the final third of the record we get loose with ‘Problematic Life’ before the curtain falls with an oh so sweet ‘Ride The River’ winds its steel guitar over the closing instrumental outro.
Grab a glass of moonshine, kick back and let The Sweet Things take you on a musical journey that travels from coast to coast not knowing where it’ll lay its head or when. This can be the soundtrack to your summer and beyond – Rock and Roll played with heart and soul. Get on it Y’all its top quality.
Pick it up here (Stateside) EU people pick it up Here
Look at that cover art, now there’s a dude who understands the fine art of being a rock star! Raised in the woods of West Virginia on a diet of 60’s & 70’s rock and a whole host of world music, you could say Gyasi (pronounced Jah-See) had an isolated upbringing. But his time with just his parents record collection and Charlie Chaplin/Buster Keaton movies was all the inspiration he would need to create a theatrical, rock n’ roll persona.
After joining his first band at 15, Gyasi eventually relocated to Nashville to search for the rock n’ roll dream. Now it seems, the newest dandy from the underground is vying to claim the crown of the long-gone rock stars and the bands that are well past their prime.
‘Pronounced Jah-See’ is the first long player on vinyl for this artist. This album collects a bunch of previous singles and new material together on glorious purple wax (other inferior formats are available) and it just begs to be placed on a turntable, the needle to be dropped and the volume to be cranked!
From the opening falsetto vocals and fuzzy guitars of ‘Burn It Down’ to the epic closer ‘Godhead’, Gyasi takes the listener on a pre-digital age tour-de-force of retro rock n’ roll. While the aforementioned opener comes on like Foxy Shazam meets The Darkness, and surely gets my attention, the sublime power pop makes way for the swampy, blues stomp of ‘Tongue Tied’. With a killer guitar harmonizer and some harmonica, it walks the same muddy, southern blues paths that the likes of The Back Keys and The White Stripes have frequented.
You can’t review this album without mentioning the Bowie/Bolan influences, and it doesn’t stop at Gyasi’s fashion sense either. (Yes, Gyasi could be the only man to pull off leopard skin flares and red stack-heeled boots in 2022). ‘Androgyne’ is Ziggy Stardust with countrified slide guitar and well-placed handclaps. ‘Fast Love’ channels T-Rextasy to the max, and ‘Kiss Kiss’ adds some New York Dolls swagger to the mix with honkytonk keys, sexy sax and Johnny Thunders guitar licks. Every song is a banger, hands down, and there’s enough diversity to keep the interest, even for the modern playlist generation.
The thing is that Gyasi is wearing his influences just as well as he wears his threads, man! But he also throws in modern day twists and turns to keep it contemporary. There are hints of Brit Pop going on and he always manages to create killer hooks and choruses that will stick like glue. Take ‘Feed Your Face’, it’s everything glam rock wannabees for the last 40 years have failed to master. Take a pilfered Bowie riff, add a killer chorus and a bunch of handclaps and bobs your uncle, you’ve got a potential hit single!
Then, just when the naysayers will have him nailed as a Bowie rip off artist, he goes and takes the listener on a sentimental trip to Haight-Ashbury. ‘Walk On’ is as Summer Of Love as you can get without putting on a Mamas and The Papas record. A live feel is created with its acoustic intro, it reeks of the San Francisco sun, reefer and doe-eyed hippy chicks with flowers in their hair. Or is it just a Kula Shaker song? I don’t care, all I know is, that it’s the coolest trip my ears have heard in ages and I love it!
Elsewhere, the acoustic ‘Little Tramp’ delivers Led Zep 3 vibes and was probably written around a campfire in the company of faeries, wolves and other such mystical beings. I think I even heard a flute on it! And then to round things off he somehow manages to channel the influences of both Pink Floyd and The Beatles in the epic ‘Godhead’.
Gyasi takes the rock n’ roll swagger of Zeppelin, the bad boy boogie of T Rex and combines the theatre of Queen & David Bowie with the campness of The Rocky Horror Picture Show, all rounded off with catchy hooks and killer choruses that are all of his own making.
While you may argue there is nothing original in rock n’ roll these days, I feel that this album is the most exciting and complete record I have heard this year, hands down. But ‘Pronounced Jah-See’ is more than just a throwback to rock n’ roll’s golden years, it’s a statement of intent that Gyasi is here to take on the world and be the poster boy for the next generation, and that’s just the attitude we want from our rock stars, isn’t it? Music lovers, you ask where the future festival headliners are…I present you Gyasi, give him your stages!
Of all the bands that I miss seeing live in these days of gig drought, Giuda are top of the list. Luckily, I saw them three times before moving to France. A guaranteed great night out, and always a friendly atmosphere. For me, there are two types of great live bands; the ragged, seat-of-the-pants variety, and the ones who manage to replicate their studio sound onstage. Giuda are clearly in the latter category, but lose none of their power in doing so.
So, the logical step was to release a live album. Thanks to Punk Rock Raduno Records, in collaboration with Wild Honey/Striped Records, there is a limited (probably sold out) run of 300 vinyl copies in black, pink or white. No details of a CD release yet. For once, I’m thankful for streaming services! If you can get yer mitts on a copy, have at it and quickly.
This is a fantastic sounding set of the “hits”; a smorgasbord of delights for the ardent Giuda fan. 14 songs at just over 40 minutes, from the opening salvo of ‘Tartan Pants’ and ‘Back Home’ to ‘Teenage Rebel’, ‘No.10’ and ‘Wild Tiger Woman’. Even ‘Interplanetary Craft’ is improved in concert. The Raduno punk rock festival in Bergamo, Italy, has been going since 2016, the next one is due 14-17th July. Giuda will be back on the road from 12th May in France, maybe I’ll get a chance to see them again. If not, this is as close as you’ll get to the real thing. So, turn it up, get your thumbs in your belt loops and get with it!
The indelible Jon Spencer (Blues Explosion, Boss Hog, Pussy Galore, Heavy Trash, etc) is back in the room and this time he’s brought The Hit Makers whilst the Blues Explosion takes a break.
Well, What does it sound like man? Is it a departure for Jon has he gone pop? First off you get plenty of bang for your buck as this bad boy contains Thirteen phat beating, fuzzed up, Groovy Rock n Roll baby, and that right where you want to be. Hell, it’s Jon Spencer god damn it. ‘Junk Man’ is like the beastie boys got transported into Spencer’s head and he poured out that hustling groovy vibe with a paper thin synth lick on top of a big beat with added howling from your main man, Perfick innit!
Spencer sure does get things lit as he delivers his fucked up sounds and if you’re not on board by the time ‘Get It Right Now’ is in full flight your head is rumbling to the backbeat and Spencer’s whack vocals and lyrics. Gets It Lit delivers in spades, it’s exciting, Fucked up, depraved, and all in his inimitable gonzo style. It sure is a head fuck and ‘Death Ray’ is only the third track on offer. As the guitar flickers to life via a paper thin lick its a shuffle and some tweaking blinking synths as Spencer dishes out his sermon about God knows what (a second inside his head would terrify 99.9% of the population Who knows how he manages to get that shit out and onto tape at the best of times but I can’t help but feel that he’s got a cheeky grin in the booth when recording this record. It’s messed up for sure it’s a melting pot like no other but damn it’s good. fuzz guitar, fat synths, rhapsodises, Wild guitar breaks, and lyrics intended to mess with the most stable mind. Spencer Gets It Lit for sure. Whilst there is a lot going down it sounds like the best of times and a lot of fun melted into the plastic on this disc.
I’m loving ‘Primary Baby’ for its solid groove and great vocals. Playing this on jaw vibrating volumes takes it to the next level and is a lot of fun, even the neighbours would agree. I’d love to hear Jon do a collaboration with Bobby Gillespie I think they could make some sweet sweet music and ‘Bruise’ is what made me think of that musical marriage. “All I Want Is Everything” he shouts out but I think he’s already got everything, well, except the kitchen sink – This I know because I’ve been playing this record for days and to be fair it’s probably got the kitchen sink in here somewhere.
By the time we get to ‘Push Comes To Shove’ I need a time out and to sit in a field to gather myself before I dive back in for the rest of this beautiful noise. ‘My Hit Parade’ is about the straightest song on here just a twisted pop song with some twang on that guitar.
‘Strike 3’ is a stonker with a sharp guitar lick and some garage beats for good measure. The record signs off with ‘Get Up And Do It’ which is like he’s brought up the ghost of Lux and walks off into the sunset with a touch of Cramp. I hope the next offering isn’t too far off because this was a blast! Now lets all go get Lit!
It’s shaping up to be another busy year for New Zealand born, London based rockers Desperate Measures. Following their mini album ‘Rinsed’ on Easy Action Records and a full UK tour with Paul Cook’s post-Pistols rockers The Professionals at the end of last year, Desperate Measures have started recording their debut full length album, due early 2023. Working once again with Andy Brook (who has produced, engineered, and toured with the like of Status Quo, Ginger Wildheart, Wonk Unit, Hayseed Dixie…) at The Brook Studios in Wallington, Surrey, Desperate Measures have completed work on a new single titled ‘Thinking Of England’ that lyrically captures the yearning to escape from a place or a situation you might not want to be.
The single will be released in time for the Queens Jubilee on June 3rd. Desperate Measures will play a single launch show at London’s Water Rats Theatre on May 20th to coincide. Says Eugene Butcher, “we’ll be showcasing a few songs from our forthcoming album, plus the new single which has just happened to coincide with the Queens Jubilee. And we’ve got The Duel and Seven Days and Doesn’t Die along for the ride so expect a right Royal knees up!”
You can pre-order the new album ‘I Live Too Fast To Die Young’ and assorted goodies from Here. The album comes out on June 10th and is the first new music from the band since 2019 ‘One Man Gang’.
“It’s an ode to our wives and loved ones who have stuck by our sides through years of playing music and touring the world,” offers Monroe on the new single. “But this can also apply to any person working hard, away from home a lot of the time, who is lucky enough to have a loved one sticking by their side through thick and thin. So, it’s a celebratory song to our nearest and dearest who are always there for us.”
“It’s a big, 1970’s Slade-inspired glam stomper,” adds Rich Jones, “It celebrates our loved ones who support us through the ups and downs of being a touring musician”.
Throughout his latest (and greatest) venture I Live Too Fast To Die Young, Monroe tells tales of glory and observed stories, some pretty, some shitty, but all through a lens of eventual optimism, hope and a sense of dirty, cheeky late-night fun. Monroe’s lens has always been directed towards the upside, even after the greatest downs a man can suffer, and the sheer power of his positive energy infuses everything he comes into contact with.
The eleven lean, mean, raw power rock ‘n’ roll songs which make up I Live Too Fast To Die Young see Monroe swagger the streets like a rock-punk poet, a storyteller who’s seen it all from the hellholes of Helsinki to the late-nights in London’s St. Moritz with some trashy times in Tokyo to boot. Warm, funny, occasionally sad but ultimately upbeat, I Live Too Fast To Die Young brings the listener into the heart and soul of its creator.
The title track, ‘I Live Too Fast To Die Young’, is quintessential Monroe, playing with words and concepts in a playfully irreverent way and wrapping it all up in some proper ‘fuck you’ rock ‘n’ roll. A close friend of Monroe’s, Slash from Guns N’ Roses, throws down some lead guitar on the track.
Recorded at Inkfish Studios in Helsinki, Finland between November and December 2021 and produced by the band with engineer Erno Laitinen, the album features Monroe on lead vocals and harmonica, Steve Conte (guitars and vocals), Rich Jones (guitar, vocals), Karl Rockfist (drums) and Sami Yaffa (bass/vocals/guitar). With I Live Too Fast To Die Young, it is clear Michael Monroe is striding into the summer with a triumphant -and perhaps most importantly, defiant- roar to offer you a chance to let your hair down (or up!) and to once again enjoy the freedom of joyous celebration and expression.
The band is due to appear at a string of summer festival shows and will be touring in support of the album on the following dates:
04 Jun – ROCK HARD FESTIVAL, Gelsenkirchen (DE)
06 Jun – K.B. Hallen, Copenhagen (DK)*
9-11 Jun – SAARISTO OPEN AIR, Kaarina (FI)
10 Jun – ROCK IN THE CITY, Kuopio (FI)
11 Jun – SWEDEN ROCK, Sölvesborg (SE)
15 Jun – Dolina Charlotty, Charlotta (PL)*
17 Jun – Stadthalle, Zwickau (DE) *
18 Jun – AZKENA FESTIVAL, Vitoria-Gasteiz (ES)
21 Jun – Mitsubishi Electric Halle, Dusseldorf (DE)*
Seemingly not content with having already released one of the contenders for albums of the year in 2022 via his superb debut solo effort ‘Ride The Wild Wind’, the astoundingly talented John Reis is back to once again rock the RPM block, this time with the turbocharged ‘Plosivs’, the debut ten tracker from an all new supergroup, featuring singer/guitarist Rob Crow (Pinback), drummer Atom Willard (Against Me!, Rocket From the Crypt) and bassist Jordan Clark (Mrs. Magician) alongside Mr Reis on guitar.
Opener ‘Hit The Breaks’ sets the tone perfectly for what is about to follow over the next 30 odd minutes, and if you are a fan of Reis’s other non-RFTC bands, like Night Marchers, Hot Snakes or The Sultans, then this baby really is going to right up your Strasse. The guitars of Reis and Crow scorch the earth whilst the rhythm section of Clark and Willard send sonic shockwaves through the galaxy, yet it’s the soaring whilst still quite understated and very melodic vocals of Crow that actually first make me sit up and really take notice. There’s a huge slab of early 90s alt rock influence within his vocal tone that honestly had me checking the sleeve notes to make sure Jon Auer hadn’t been working under a pseudonym post the very public (and totally understandable) break-up of The Posies.
The boogie-tastic ‘Rose Waterfall’ is another joyous overload of melody, whilst the almost schizophrenic ‘Thrown Clear’ takes the listener on a rollercoaster ride of time changes and multiple vocal hooks that really shouldn’t work…but boy does it.
‘Never Likely’ is where the aforementioned Posies refence point is perhaps at its closest as it recalls a very special time in my life when ‘Frosting On The Beater’ was indeed perhaps the greatest thing I’d ever heard.
The record’s lead track (and video) ‘Broken Eyes’ marks the album’s mid-point in a way that made me also recall a time when music that was called “Indie” really was just that, and most all, it was also exhilarating and fresh, whilst the other thing that strikes me about ‘Plosivs’ is that as it progresses it actually gets better and better.
I really don’t want to spoil the delights that wait for you when discovering this record for yourselves, but if you like Cheap Trick played by The Pixies then check out ‘Pines’ or if you just want to hear what a more melodic Hot Snakes might sound like then album closer ‘Bright’ is where you need to direct your attentions.
Everything about ‘Plosivs’ just sounds right, its one of those albums that when you first play it, it all just clicks into place, and thanks to the stellar sonics of Ben Moore (who also worked on Reiss’s ‘‘Ride The Wild Wind’) you also get a record that totally destroys everything in its path.
Slyder Smith first swaggered onto the stage in the 90s as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on their own label, Ray Records, & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion.
With over an album’s worth of material written, the band have worked tirelessly in the rehearsal studio, whipping into shape a carefully curated, explosive mix of rock anthems, with a few surprises thrown into the mix. With lyrics that speak from the heart, Slyder has delved deep into his own psyche over lockdown and explored numerous new guitar styles, resulting in what can only be described as his best musical output to date.
The Oblivion Kids are chomping at the bit to head in the studio at the end of March with legendary Producer, Pete Brown (who has worked with George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths & Diamond Head as well as being musical director, vocal arranger & guitarist, in his father’s (Joe Brown) & sister’s (Sam Brown) touring bands & producing Sam’s platinum selling album Stop).
Having raised the capital required for recording themselves, the band are reaching out to their fans on Kickstarter to help match fund the remaining 50% required to manufacture CDs, Vinyl and other promotional merchandise. In exchange for their support, pledgers can choose from a range of rewards and exclusive experiences.
Right folks get on your blue suede shoes, slick back your hair and grease up your quiff as Brian Setzer is going to rock this town with his guitar twanging new album titled “Gotta have the rumble”.
The first cut is titled “Checkered Flag” and it draws the listener in with a killer groove and has Brian’s signature killer guitar playing all over it.
Next up we have “Smash up on highway one” and Brian is in fine voice and with a hypnotic guitar riff this song is a winner.
“Stack my money” and “The wrong side of the tracks” are pure quality and keep the album flowing along with instant foot tapping anthems.
“Drip Drop” is a slower paced number and has a doo wop feel to it with some stunning female backing vocals and is a truly stunning track.
Up next we have “The cat with 9 wives” and the pace is picked back up with Brian telling us the tale of his 9 wives now this would be too much for the average joe but the rock’n’roll legend that is Brian Setzer is more than cool enough to pull it off.
“Rockabilly Riot” is what it says on the tin. The song is filled with hooks that just don’t lodge in your brain; they smash you over the head and if your leg isn’t shaking along to the rhythm Elvis style then get your pulse checked as you might be dead.
“One bad habit” is another effortlessly cool track dripping with attitude and pure energy.
Closing out the album is the track “ Rockabilly Banjo” and what a way to finish this great album off with a killer chorus that immediately gets the listener singing along and yet again Brian is on top guitar slinger form.
Brian Setzer is a living legend who never fails to deliver quality tunes and “Gotta have the rumble” is an album that from start to finish is up there with his best work and will reward the listener with repeated spins.
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