Beach Rats(Ft. Members of Bouncing Souls, Bad Religion and Lifetime) Announce Debut Album ‘Rat Beat’

Beach Rats(Ft. Members of Bouncing Souls, Bad Religion and Lifetime) Announce Debut Album ‘Rat Beat’

Beach Rats announce their debut album Rat Beat, out on July 29th via Epitaph Records. An impressive lineup of punk rock lifers, the band is comprised of vocalist Ari Katz (Lifetime), guitarist Pete Steinkopf (Bouncing Souls,) bassist Bryan Keinlen (Bouncing Souls,) guitarist Brian Baker (Bad Religion, Minor Threat) & Danny Windas (Let It Burn) on drums. They also share the music video for the album’s title track “Rat Beat” which embodies the nature of punk in its purest form; hard, fast and loud.

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Beach Rats came to be as each member found themselves settled in the beach community of Asbury Park, New Jersey. After releasing an EP in 2018 and performing a slew of high-energy shows, the global pandemic gave the band a reason to get back to recording. The majority of the songs on Rat Beat were conceptualized and rehearsed in the basement of Brian Baker’s home and then tracked by Eric Bennett at Lakehouse Studios in only one day.

Baker recalls, “We’d go down in the basement, put on masks, open the windows and we could play – within CDC guidelines! We couldn’t go to dinner at each other’s houses but we could practice.” 

The DIY spirit of punk music is very much alive in Beach Rats. With the fervor to create something new, yet nostalgic, the band intentionally wrote the 12 tracks on Rat Beat how they used to back when they were teenagers. Or as Baker puts it, “like we did before we knew how to write songs.“

Not wanting to take themselves too seriously, the band formed merely over a love of the genre. These are veterans of punk rock just having fun and trying replicate that feeling and sound of what it was like to make punk music in the 80’s.

“You’re gonna get authentic punk and hardcore from BEACH RATS because we are all from the 80’s,” Bryan Kienlen comments. “It’s literally taking it back to some of our biggest influences like Negative Approach and Poison Idea, And of course, Minor Threat.”

FOR MORE INFORMATION ON BEACH RATS, VISIT: 
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The Slackers – ‘Don’t Let The Sunlight Fool Ya’ (Pirates Press Records)

The Slackers – ‘Don’t Let The Sunlight Fool Ya’ (Pirates Press Records)

Summer is almost here ladies and gentlemen, and this all new twelve track album from New York ska outfit The Slackers is going to provide the perfect soundtrack.

That’s right folks, because after the high intensity punk and post punk stuff I’ve been reviewing elsewhere on RPM this month, ‘Don’t Let The Sunlight Fool Ya’ actually came as something of a welcome respite. Indeed, cranking this one out of the RPM boombox over the recent bank holiday was like a much-needed foot on the brakes of life, providing me with a chance to reflect on matters whilst also enjoying the first rays of 2022 sunshine on my face.

‘Don’t Let The Sunlight Fool Ya’ has been seven years in the making for Vic Ruggiero and his bandmates, and for once that old adage about the best things come to those who wait has really never been more apt, because this record really is a right bobby dazzler.

The New York Times recently dubbed the Slackers part of ‘the sound of New York’, and just one listen of ‘Windowland’ later I’m suddenly whisked off to an upstate Manhattan bar one Friday night supping on a cold one totally absorbed in the band playing on the small stage in the window, with the rest of the assembled weekend crew going suitably bananas all around the place. Yup, The Slackers are bringing their A -game via their special brand of ska party to your living room, and all you have to do is pick up a copy of this record to gain entry.

At this point I do have to admit that Nev Brookes should really be reviewing this album, because after all he is RPM’s resident expert in everything with a skanking rhythm, but after hearing the album’s superb title track (which got a video release a few months back) I just had to hear the rest of ‘Don’t Let The Sunlight Fool Ya’ and here within the context of the full album said title track still makes me think it’s a song custom bult for Elvis Costello to one day cover.

Elsewhere, the likes of ‘Hanging On’ and the riotous ‘Nobody’s Listening’ shine through via some truly inspired vocals from Ruggiero, whilst it’s the band’s impressive horn section (of Dave Hillyard and Glen Pine) that get to steal the show on the glorious ‘Way Of A Woman’ and on the subtle soul stylings of the sultry ‘Second Best’. Things get political for the powerful ‘Statehouse’, and dare I say that during the lament of ‘They Are Losing’ the long shadow of a certain Tom Waits looms large over proceedings.

‘Don’t Let The Sunlight Fool Ya’ is very much a dance album though and when you follow the aforementioned ‘They Are Losing’ with the almost 2Tone-esque ‘Shameboy’ you’d have to be one tough cookie (or perhaps an idiot) not to find yourself immediately caught up in the dance craze The Slackers generate.

Look, we’ve all had a couple of tough years, right? Well, it’s time to heal, and great music is the perfect medicine to help us do just that.  So, treat yourself, go get a copy of ‘Don’t Let The Sunlight Fool Ya’, smile, dance and as The Slackers themselves wisely say whilst ‘Time Won’t Set Us Free’ great music most certainly will.

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Author: Johnny Hayward

Bleeding Hearts – ‘Rags To Riches (Bar None Records)

Bleeding Hearts – ‘Rags To Riches (Bar None Records)

Limited Edition Record Store Day LPs can be such a luxury item for the vinyl enthusiast or to some it’s nothing more than a crude attempt to fleece hardcore physical purchasers in a world that’s leaving them behind. Wherever you sit on the debate there are always some records that raise an eyebrow and for Replacements completists, this would be one such release that will have them queuing round the block amongst all the Noel Gallagher fans and scalpers to pick up a copy on Red Vinyl.

With a mere 2000 pressed worldwide. Bleeding Hearts’ ‘Riches to Rags’ is a decent collection of rock ’n’ roll songs featuring the guitar work of Bob Stinson, founding member of the Replacements. Stinson’s untimely death, back in 95 seems so long ago now (I guess it is) this 1993 recording was shelved and remained the stuff of legend among Replacements fans. The album is upbeat, catchy Minneapolis rock, with Bob’s ever-present licks and bright chords shining through like a diamond in the rough. It also comes wrapped in a sleeve with liner notes from Grammy Award Winning journalist Bob Mehr, who wrote the definitive biography ‘Trouble Boys: The True Story of the Replacements’. He describes Riches to Rags as “the final piece to the puzzle of Bob Stinson’s musical career”. If you didn’t know he also released a class album with the legend that is Sonny Vincent. The remaining members of Bleeding hearts are rumored to be playing these tunes at some shows to celebrate the release of ‘Riches to Rags’.

The opening track and title track is an uptempo rocker with a punchy melody and some sweet guitar playing then to follow it up with the rough house brawler ‘Gotta Find A Way’ it truly is classic Minneapolis rock n roll. With an ear for a great hook, it’s radio-friendly and should have come out back in the day and been a huge hit but hey, shit happens, and it’s better to be late than never at all right? ‘Imagination’ is a cocksure riff with added honky tonk and a 70s Rod Stewart lick for good measure. ‘Gone’ has the spirit of The Heartbreakers running through it.

To be fair you should know the drill by now ‘Tonight’ is a bit of Tom Robinson’s 2-4-6-8 and Mats rolled into one – great stuff just what this scribe was looking for this RSD and to reaffirm my faith in sloppy Rock n Roll with attitude. The Bleeding Hearts have got the Bleedin lot to be fair. ‘Happy Yet’ has got the punch of Thin Lizzy at the top of their game with a punk rock hook. Damn it’s such a shame Bob left this world so young he had so much to offer and this is evidence that there was a wealth of talent in the Stinson family. The band sails fairly close to some hard rock seas with the mouth organ riff a rama of ‘What Do You Want?’

Get out of bed early and go find a copy this is a must-have release but like a lot of RSD records, there might just be a release down the track which might go to smooth some ragged hearts who will be in the mix for a copy but won’t pay scalper Ebay prices. Good luck kids and if you have to nick a copy be careful.

Author: Dom Daley

Plosivs – ‘Plosivs’ (Swami Records)

Plosivs – ‘Plosivs’ (Swami Records)

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.

This really is essential stuff!

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Author: Johnny Hayward

Ginger Wildheart – ‘The Pessimist’s Companion’ (Wicked Cool Records)

Ginger Wildheart – ‘The Pessimist’s Companion’ (Wicked Cool Records)

A break-up album can be the most honest and personal album of a musician’s career. I feel an artist is at their best when they are going through the worst of times, it’s when they have something to truly write about. A relationship breakdown, like a bereavement, can open the emotional and creative floodgates like no other experience, and it can be the best of therapies in the darkest of times.

So, when Ginger Wildheart (and his faithful four-legged companion Maggie) retreated to a caravan in the wilds to write the follow up to the confessional ‘Ghost In The Tanglewood’ album, the pen did flow as did the whiskey, and ‘The Pessimist’s Companion’ was born.

Originally rush released as a 10-track album by Round Records back in 2018 to meet pre-order deadlines, this collection of heartfelt, soul-searching tunes has been lovingly re-mixed, re-sequenced and beefed up with 5 extra songs recorded at the same sessions, but not finished in time for release. The album now gets a proper worldwide release on Little Steven’s Wicked Cool Records label, a place that sees our man now rub shoulders with other RPM favourites such as Ryan Hamilton, Jesse Malin and Wyldlife.

Track wise and feel wise, the reshuffle turns this album on its head quite literally. The album now opens with the upbeat vibes of ‘Why Aye’, a song of hope and confidence in moving forward. That now leaves the beautiful, acoustic sermonette ‘May The Restless Find Peace’ to close things up. In hindsight, a more fitting epilogue to the story than an introduction. It now feels like the song has its rightful place and harmony has been restored in the world.

It’s interesting to note that a friend of mine (who is not a big Wildhearts lover) commented that Ginger sings in his natural accent on his solo material, and that’s something I never noticed before, but I must say the Geordie twang is more prominent on this album. And it maybe gives more of a sense of locality and a big dose of Northern charm that fits well with the country-tinged direction in which Ginger is heading.

‘I Love You So Much I’m Leaving’ is a euphoric high for dark times. A song that offers hope and contemplation in equal measures. A sound that features pedal steel and acoustic guitars, it’s the country-tinged direction we assume he will take further with The Sinners album (to be released later this year). Another album highlight is the acoustic driven ‘You Will Let Me Down Again’. Commercial and worthy of single status, it flows along on a summer breeze with lazy, hazy backing vocals courtesy of Emily Ewing.

Of the new songs, the standout is the newbie single ‘Stalemate’, which along with the title track could have fitted nicely on the ‘555%’ triple album. A signature Ginger melody and a radio friendly chorus that will stick in the subconscious, never to be removed. ‘Detachment’ has a similar melody to ‘The Words Are Gonna Have To Wait’ and ‘No Regrets’ has an almost Greg Lake seasonal feel to it.

Elsewhere ‘I Don’t Wanna Work On This Song No More’ is one of those fun, studio jams that pilfers from The Wurzels as much as it does from The Levellers, and ‘I Wanna Be Yours’ is a tongue-in-cheek romp that raises a smile or two.

Back sometime in the mid 90’s the Wildhearts leader claimed that “some of the best of me plans have been laid, and some of me best moments used”. Well, fast forward to 2022 and we find the man re-releasing his 7th (don’t quote me on that!) solo album and it seems he still has some of his best moments left in the bag.

The heart wrenching ‘A Better Love’ features a beautiful piano-led first chorus that is so gentle and fragile, it feels like any intrusion would destroy the song forever. Heart on sleeve, a love song pure and simple that implores you to hold on tightly to the one you love and never let them go.

‘Sweet Wonderlust’ is pure countrified pop with a killer chorus the likes of Nashville can never deliver. And ‘There Is A House’ is a contemplative, folky ditty along the same lines as ‘If You Find Yourself In London Town’. Full of tinkling ivories, stark percussion and creative space, it might just help heal the broken hearted…just a little bit.

While as standalone tracks the additional songs may not be the strongest on offer, they seem perfect in the context of ‘The Pessimist’s Companion’ as a whole listening experience. And now I feel relistening to the original record, it will always feel like there is something missing.

A release designed to get the talents of one of the UK’s best kept secrets out to a wider audience. ‘The Pessimist’s Companion’ is a country-tinged break-up album that is as much a therapy for the artist as it is joyful, masterful listen for fans both old and new. An album worth revisiting if you’ve been here before and also worth forwarding to those who haven’t. Let’s help spread the word.

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Author: Ben Hughes

Faz Waltz – rock n rolling with a ‘Hot Cold Fever’

Faz Waltz – rock n rolling with a ‘Hot Cold Fever’

For those not familiar with Italy’s Faz Waltz, they formed in 2007 as the solo project of songwriter, singer and guitarist Faz La Rocca. As long as he can remember he has always been influenced by early Rock’N’Roll, Glam Rock and Punk.  Since their first release in 2008 they have gone on to release numerous singles and are now releasing their 8th album, “On The Ball”.  They have had worldwide releases in countries like the United States, Canada, Italy, Spain, and Germany to name a few.  They have played over 300 concerts worldwide, with Punk Rock Bowling (Las Vegas) as one of the last great Faz Waltz shows before the worldwide pandemic.  There they were able to play alongside The Hives, Rancid, The Specials, Descendents, The Damned, The Undertones and many more. In fact, on that US tour Rodney Bingenheimer came out to see them in Los Angeles before they made their way to Las Vegas.

Now they are back with their eighth album “On The Ball”.   This album pays homage to their love of the early days of American Rock and Roll..  You’ll hear hints of Eddie Cochran, Chuck Berry and Little Richard along with that classic Faz Waltz rock and roll sound.

Spaghetty Town Records has partnered with Surfin’ Ki (Italy) and Snap Records (Spain) to bring you the vinyl release of “On The Ball” to North America and Europe. Also available on all major streaming/download sites.

Spot Mcrackin – ‘New Tricks’ (Last Exit Records (Germany) LP, Mcrackins Records (Canada) CD, Memorable But Not Honorable (USA) Cassette, Little Lost Girl Media (USA) 8–Track)

Spot Mcrackin – ‘New Tricks’ (Last Exit Records (Germany) LP, Mcrackins Records (Canada) CD, Memorable But Not Honorable (USA) Cassette, Little Lost Girl Media (USA) 8–Track)

Spot looks like a little serious doggie on the cover of the album but I found after the first few play-throughs I wasn’t feeling the love and my heart was kinda serious/sad like the cover artwork – wondering why I wasn’t feeling it because it has all the hallmarks of music I listen to all the time.

Then, I found myself singing the hook of ‘Lianna’ without knowing the song or who it was by. You know the kind of brain fart moment when you’re humming a tune, no idea why that should pop into your head and you be damned if you know who it is. Then about a month ago I thought I have to give that Spot McRackin album a listen to so I can start fleshing out a review and hey presto, ‘Lianna’ Boom! there it is that’s the tune I’ve been singing half the bloody day. Damn man the earworm is burrowing into my brain and I can’t stop playing it. I love an album that does that kinda stupid shit that plays with your head. How did I ever doubt it? Was I even listening to this album maybe a gremlin got into my walkman and was playing a different album. Thank fuck I didn’t publish the review overnight with my initial thoughts. How stupid would I have looked (Quiet at the back, I’m not totally stupid)

On deeper investigation Spot has grabbed a few of his band mates and pals from The McRaklins, Trashcan Darlings and a couple of Dirtbag Republics for good measure. To be fair with it being a solo record Spot is all over this record – Singing, playing Drums, Guitar, Bass Guitar and everything in between. The new album was mixed by Norwegian engineer Maria Maxwell and mastered by Justin Perkins (Screeching Weasel/Replacements) and produced by Spot and Maxwell (of course) For those uninitiated Spot has been the drummin’ dog for Vancouver based pop-punkers Mcrackins since 1995 and moonlights as the singer for Rock and Rollers “Dirtbag Republic” since 2014.


Mcrackins have released almost 20 full-length records, appeared on the legendary BBC Jon Peel show, movies, commercials and most recently co-headlined Punk Rock Raduno 4 in Italy in 2019, which was released as a live album in 2021. If that cv isn’t enough Mcrackins will also be releasing their first new studio album in 10 years this coming winter.

‘YOYVR’ is powerpop punk rock that puts a smile on your face with a catchy melody and a story of tourlife with the boys in the band. It’s a little ray of sunshine from the Glammy guitar solo to that big chorus. It’s not a bazillion miles from something Michael Monroe would put on a record. What you get is ten songs that punch and windmill like the best pit in the best dive bar. It’s not rocket science here I’m sure Spot wouldn’t mind me saying so. ‘My Dingo Ate My BAby’ is a party in your speakers. With a sleazy riff and a case of beer and good times.

The album keeps rolling on with some good riffs and plenty of hooks like the late night sing-a-long of ‘Never Said I Loved You’ followed by the punky ‘Isolation Therapy’

Spot ups the ante with ‘Abandoned’ and goes for a Ramones style 1-2-3-4. It’s rapid bullshit-free punk rock and very nice it is too I might add. As much as I like a good pogo punk rock song I do have a soft spot for the Steve Jones riff of ‘Take Me For A Walk’. It’s got attitude and it’s got a dash of sleazy glam rock as well you can whisper it quietly but there is some ‘Talk Dirty To Me’ in there as well which is cool by me.

There are no soppy love songs or lighters in the air moments and neither is there anything way out of the ordinary like a techno number but what you do have is ten songs that offer a great time and confirmation that punk rock n roll is alive and well and this old dog can teach you new tricks – check this out and tell me I’m not barking mad! Howling good time to be had courtesy of Spot Mcrackin

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Author: Dom Daley

Crows – ‘Beware Believers’ (Bad Vibrations Records)

Crows – ‘Beware Believers’ (Bad Vibrations Records)

So, an old friend of mine (who has been working with, managing and writing about cool bands for the best part of three decades) said to me a few weeks back. “Come and see Crows in Cardiff, you’ll love them”.

“Nah – they’re too Indie for me” I quickly replied.

He even asked me again on the day of the gig, and yet again I replied in the negative.

Then, as I woke the morning after said gig, I found another friend had tagged me in a live video from the gig on social media, only for me to click on it and think.  “Hang on this is actually really really good.”

And, a few quick spins of ‘Beware Believers’ (the London band’s recently released second album) later, and boy oh boy am I regretting my decision.

Why all the fuss you might wonder? Well, this week whilst the world and its dog are all seemingly losing their shit over Wet leg’s new album, Crows have crept out of leftfield with next to no media fanfare and have released one of the albums of 2022.

Having witnessed the very good The Imbeciles supporting Killing Joke just a week or so earlier I cannot help but think the self-styled Lords of Chaos missed a trick not getting Crows out with them too, because whilst Killing Joke’s flame still burns very brightly indeed Crows are (to my ears at least) the voice of a whole new generation of disaffected UK music fans.

Take ‘Garden of England’ for example, this tune bristles with the spirit of post punk circa 1978-79 and even adds a soupcon of Mr Lydon (In the “England” phrasing) towards the end of the track – yet with its subject matter of a diseased country falling to rack and ruin it is very much 2022.

Elsewhere, the gargantuan ‘Only Time’, the Mark E Smith fronts IDLES drone of ‘Room 156’, the Division Of Laura Lee-like ‘Moderation’ and the truly sublime ‘The Servant’ are all standouts in an album jam packed full of them, and it’s only when the pace (and indeed intensity) drops for album closer ‘Sad Lad’ that I actually get a chance to reflect on the greatness on offer throughout all of the record’s eleven songs.

‘Beware Believers’ is an album I could easily write 10,000 words about, but the litmus test will be you going out and listening to it and loving it too. This is all killer no filler post-punk, and in a rock world seemingly crammed full of lip synching manufactured beige bollocks it’s bands like this that really keep old farts like me interested and excited about the UK scene.

Oh, and Andy, you were right all along… I do love them.

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Author: Johnny Hayward

The Imbeciles-‘Imbecelica’ ( Cadiz Music)

The Imbeciles-‘Imbecelica’ ( Cadiz Music)

The Anglo-American Imbeciles are led by writer / guitarist Butch Dante’s , originally starting out as a conventional punk band, Wartoad,

2019’s ‘The Imbeciles’ debut album was taped in eight deranged days,(so the story goes) in a haunted studio on the Texan-Mexican frontier, For the new album, Youth from Killing Joke’s El Mirador studio in southern Spain ,was utilised taking the music in a totally different direction. Along with the band Youth’s musical partner Michael Rendall played keyboards, with Youth playing bass and co-writing throughout.

Now at this point I have to say I stand by everything I said about the band live even though this recorded version is a very different ball game.

Opener “Tiny Blue people” sleazily crawls out of the speakers a real rock and roll intro grounded in the underground rock sound, a real ear worm of a track that really sticks with you the guitar riff holding you in a post punk haze.

On the opposite end of the scale next up “Its not about you” is almost alt pop perfection not unlike the direction Rich Ragany is moving in the vocals leading, the guitar picking at you with a real arena sound. This then takes us into ” I’m not the One “ hitting the sort of heights set out by Beastmilk, this LP really is all over the place, you just can’t pin them down (Not unlike the live set).

Next up London rain has that almost 60’s Carnaby street vibe, modernised (at least into the 70’s) with the spirit of Lenny Kravitz circa Let love rule. That Kravitz vibe remains in next up “Van Man”. Before we drop back into that 60’s/70’s garage rock vibe with “The name of the Rose” again pulling up a very different direction ala Razor bats first classic lp.

“I won’t let you down” has almost a psychedelic 70’s feel hinting at early Floyd.

Now I don’t think I’ve ever reviewed anything and mentioned Lenny Kravitz, Rich Ragany’ The Razor Bats, Beast milk and post punk in the same review as influences, not ever and probably never will again, showing how all over the place this LP is! “Your gonna Wanna” shakes that classic rock and roll tree, while “Soldiers and Junkies” drags us back into the underground Rock and roll sleazy place we love to be in. “Lets go!” tears out of the speakers and “Superstar” is just about the perfect ending to what is a cracking LP, so if you like any style of music that sits within the Rock and Roll orbit you really need to check out the Imbeciles, Simply Stunning!!!!

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Author: Nev Brooks

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Chip Z’Nuff – ‘Perfectly Imperfect’ (Frontiers/Avalon Japan)

Chip Z’Nuff – ‘Perfectly Imperfect’ (Frontiers/Avalon Japan)

The line-up history of Chicago Power Pop legends Enuff Z’Nuff is a complicated thing to follow. In a nutshell; After 15 years and 10 albums singer leaves band – guitarist (not original guitarist) becomes singer. Guitarist quits band – singer rejoins. Singer quits again – guitarist becomes singer again and subsequently quits…bassist and founding member becomes singer. In-between all this, add the usual band antics including drug addiction/stints in rehab, lawsuits, being shafted by record label/band members, and the tragic deaths of 2 band members. Are you still following?

Fair play, Chip Z’Nuff  is still holding the Enuff Z’Nuff flag flying high in 2022 and if he looks a bit disheveled in his trippy, hippy attire then, he has good reason to be. Not only is his third studio album as lead singer of Enuff Z’Nuff to be released later this year, he precedes that with this, his second solo album entitled ‘Perfectly Imperfect’.

You could be forgiven for being skeptical when Chip took over lead vocal duties from the estranged Donnie Vie. Yeah, the harmony vocals of Chip & Donnie were sublime, but could the bassist possibly pull it off without his longtime songwriting partner? Well, with 3 EZN albums under his diamond studded belt as lead singer and his second solo album on the shelves, it seems the rose-tinted bespectacled Chip is doing just fine on his own.

Of course, the ghost of his former singer is never far from any EZN related release and this album is no different. The first single ‘Heaven In A Bottle’ is an old Chip & Donnie tune that harks back to the early years of the band and has been doing the rounds in demo form for eons. It’s a typical, mid-paced ode to Cheap Trick, the sort of tune they could knock out in their sleep back in the day. Chip’s trippy, laid-back tones are more subdued compared to Donnie’s Lennon-like rasp, and that feel sets the pace for the whole album.

It’s impossible to review this album and not make comparisons to his past songwriting partner. And Chip doesn’t really help matters on ‘Doctor’ by pilfering the main hook from Donnie’s ‘Light Shine On’ from his 2014 release ‘The White Album’. But that said, the duo co-wrote so many tunes the original idea could be from either of them, I guess.

His reworking of ‘My Heroin’ (cunningly re-titled as ‘Heroin’ here) from EZN’s 1995 album ‘Tweaked’ is quite frankly the highlight of the album. I was skeptical on first listen, as its one of my favourite EZN tunes, but fair play, he somehow improves on it. The original was a bare bones recording, a masterpiece of the acoustic slide, harmonica and gut-wrenching sadness, an ode to the pitfalls of addiction. I didn’t think a full band version would improve it, but somehow, with just the addition of bass and drum tracks, it does.

Of the originals on offer, album opener ‘Welcome To The Party’ brings to mind ‘We’re Alright’ (again from ‘Tweaked’) and is a fine listen. It chugs along on the cool hook, again coming on like a long-lost Cheap Trick poptastic dittie that would not sound out of place on ‘Live at Budokan’. ‘I Still Hail Ya’ has a quirky vibe, it’s full of dreamy pop melodies and euphoric vocalisin’. And I’m still not sure if ‘3 Way’ is a driving song or a euphemism for kinky sex, but it’s one of the more upbeat Power Pop ditties on offer and I like it.

Still dressing like a late 60’s Carnaby Street reject at 53 years old, Chip Z’Nuff is flying high again with a selection of old melodies, reimaginings and new ideas.  But listening to ‘Perfectly Imperfect’, I’m left wondering why this album is released under the ‘solo’ moniker? It is no real departure from the signature Chip sound, but it is a departure from the Enuff Z’Nuff signature sound, as are the last 3 albums without his songwriting partner.

If you are an Enuff Z’Nuff fan you will love it I’m sure, but at just 9 songs, it speaks volumes to me that the strongest offerings are the last two on the album; the aforementioned ‘Heroin’, a song Chip wrote a lifetime ago, and a 48-year-old Mott The Hoople song called ‘Honaloochie Boogie’. Maybe it’s just a stop gap to keep the fanbase happy, or one of those ‘contractual obligation’ albums, but as the title suggests, this solo album feels a bit cobbled together, out of time and out of place. But you know what, I do quite like it.

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Author: Ben Hughes