Spermbirds – ‘Go To Hell Then Turn Left’ (Rookie Records/Boss Tuneage)

Spermbirds – ‘Go To Hell Then Turn Left’ (Rookie Records/Boss Tuneage)

2019 has been another great year for punk rock releases, from The Hip Priests to Clowns, from Michael Monroe to The Volcanics all of these bands have released records more than worthy of scooping any number of coveted Album Of The Year tags, but this year for me one LP flying completely under the radar – and thus missing a review here on RPM at the time of its release back at the start of September – has knocked me bandy, more than any other. That album brothers and sisters is ‘Go To Hell Then Turn Left’, the long-overdue all-new studio record from German hardcore veterans Spermbirds.
Rewind to Hellfest 2018 and very early in the day on the Friday of the festival I finally got to see Spermbirds live, they totally owned the Warzone stage that day, no mean feat considering they were playing alongside the likes of Bad Religion, 7 Seconds and The Hard-Ons, but then when a band haven’t played the UK in God knows how long that makes finally seeing them seem all so much more special I guess, just like Gluecifer, a band also on the bill that same weekend and also stealing the show on the awesome Scando Sunday.
Actually for those of you who may not have heard Spermbirds before Gluecifer are as good a reference point to start as any, as this 13 track beast of a punk rock record has all the uber cool melodies of Biff Malibu’s mob at their White Jazz prime underpinned by the pent up anger that only 35 years’ experience of playing hardcore punk rock music across the world can bring.
Having suffered for my art with just a stream of ‘Go To Hell Then Turn Left’ to play for the best part of a month now I finally felt that the time was right to nail my colours to the mast regarding this record and see how many of you will suddenly be adding it to your Albums of The Year list too, because trust me when I say that nine years in the making, there is not a weak track on ‘Go To Hell Then Turn Left’.
Kicking off with the cough and splutter frenzied guitar driven onslaught of ‘Breathe Deep’ the band have never sounded more vital and when this track breaks into the album title track the you get to quickly realise that the Spermbirds can also still pen a catchy number to match any of their peers, and it’s here also that I’m wondering if Weab from Kid Klumsy might just be more of a fan of vocalist Lee Hollis than he’s letting on.
It’s almost impossible to pick standouts on an album packed full of them, but ‘Agent Nine’, ‘From This Direction Comes War’ and the explosive ‘Balancing Act’ are some of the finest tracks I’ve heard anywhere this year and just like with the ‘Black Door’ album by The Volcanics I mentioned in my intro. why it all works so well is simply because the band are doing this punk rock malarkey better than anyone else.
For those who remember the early days of the Spermbirds then the likes of ‘Bring Out The Snakes’, ‘I’m Not From Round Here’, ‘A Lot of Talk’ and ‘Thanks For Being Special’ will all have you all flipping your baseball cap and looking for your nearest skatepark whilst ‘If I Ever Find My Pants (Someone’s Gonna Die)’ has to be the best song title anywhere this year
‘Anything With An Engine’ is a song so brilliant it has to be the best Gluecifer song Gluecifer never wrote…. which just leaves ‘A Quarter Till The End Of The World’ to round off this total masterpiece of an album.
With no song breaking the 3:30 minute barrier all wrapped up in a production that will nail you to the wall, Spermbirds have achieved the almost impossible by releasing a perfect 10 album this late on in their career, then again there are some who will say they only ever release perfect 10 albums. Either way ‘Go To Hell Then Turn Left’ deserves to be heard by everyone, and if after this review you feel compelled to check out the record and then buy it…please pay this message forward!
Now, what about Spermbirds for Rebellion 2020 eh? The campaign starts here!!!!

Buy ‘Go To Hell then Turn Left’ Here

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Author: Johnny Hayward

The Phobics – ‘Burnt Rubber’ (Self Release)

The Phobics – ‘Burnt Rubber’ (Self Release)

You’d be forgiven for wondering why it takes the Phobics so long to release records because while they may have been regularly hitting the stage (including trips to Ireland and Europe – luckily before Brexit potentially complicates matters), their recorded output has been a little less regular. In fact, Deptford’s finest punk band released their last album, ‘Deptford Calling’, back in 2011.

Finally, 8 years later, the London veterans return with their new record, ‘Burnt Rubber’. And for those wondering if it was worth the wait – it was. And then some.

Back in those halcyon days of Uber Rock, when it was a revolutionary website terrorising the visitor numbers of those shite classic rock websites we’d all become despondent with, I was given the privilege of mulling over the Phobics’ 2004 EP, ‘Down and Out in Deptford’. Since those scrappy recordings they’ve been on quite the upward trajectory.

From the off, ‘Burnt Rubber’ is a glorious success in punk rock and garage rollicking. Always with their finger on the pulse, the band set the story with opener, ‘Gentrification’. As London is bought and sold to the highest bidder – the soul being torn from Denmark Street particularly lamentable – this album is something of a soundtrack to this cultural decline. The ‘Hymn for the 12 Bar Dudes’ closes the record on a breeze of sadness.

This isn’t a sad set of songs though, and neither did I expect it to be. It’s a fun and raucous romp that moves on hugely from their 2011 effort. From the insanely catchy ‘Don’t Lay Your Flowers on my Grave’, to the bang on the money ‘Politics’, their latest release is delightfully enjoyable, excellently produced, and was all recorded in two half day sessions. Whether it’s ‘Path of Love’ or ‘She’s a Runaway’, the Phobics just don’t let up on this album. The Motorhead/Ramones adaptation of ‘P.H.O.B.I.C.S’ is also a nice touch.

‘Burnt Rubber’ is a record of true revolutionary punk rock style, the way it should be, and mixed with the hard groove of 60s garage. It’s loud and it’s angry, but it’s also laughing at all this nonsense we’re living in every day, and it’s probably laughing at you too.

Author: Craggy Collyde

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KISS ADD MORE EUROPEAN & SOUTH AFRICAN TOUR DATES FOR 2020

KISS ADD MORE EUROPEAN & SOUTH AFRICAN TOUR DATES FOR 2020
                       Kiss ADD MORE EUROPEAN & SOUTH AFRICAN TOUR DATES FOR 2020

After an epic and well documented 45-year career that launched an era of rock n roll legends, KISS launched their final ever tour in 2019.

2019 saw sold out KISS shows across the globe with arguably the greatest KISS show ever! The initial tour announcement was met with huge fan demand for added shows, but the END OF ROAD TOUR will officially come to a close on July 21, 2021 at a NY location yet to be named.

KISS are delighted to announce further dates to their incredible END OF THE ROAD TOUR in June and July 2020, with more dates in Europe and South Africa announced today.

KISS will be offering VIP experiences and special KISS Army fan presales. VIP experiences may include a personal photo opportunity with the band, access to an exclusive pre-show lounge and a behind the scenes tour.  Visit www.kissonline.comfor more information.

Known for their trademark larger-than-life blistering performances, KISS has proven for decades why they are hands down the most iconic live show in rock n roll.  The Rock & Roll Hall of Famers, who have sold more than 100 million albums worldwide, have said this tour is devoted to the millions of KISS Army fans.

“All that we have built and all that we have conquered over the past four decades could never have happened without the millions of people worldwide who’ve filled clubs, arenas and stadiums over those years. This will be the ultimate celebration for those who’ve seen us and a last chance for those who haven’t. KISS Army, we’re saying goodbye on our final tour with our biggest show yet and we’ll go out the same way we came in… Unapologetic and Unstoppable,”said KISS.

KISS END OF THE ROAD 2020 European dates announced are below (newly announced dates in red including South Africa) –

Tuesday 9thJune 2020                   Accors Hotel Arena, Paris FRANCE
Friday 12thJune 2020                     Download Festival, Derby UNITED KINGDOM
Sunday 14thJune 2020                  Westfalenhalle, Dortmund GERMANY
Monday 15thJune 2020                  Barclaycard Arena, Hamburg GERMANY
Thursday 18thJune 2020               Copenhell Festival, Copenhagen DENMARK
Saturday 20thJune 2020                Osterhuis Arena, Sandnes NORWAY
Monday 29thJune 2020                  Zalgiris Arena, Kaunas LITHUANIA
Wednesday 1stJuly 2020               O2 Arena, Prague CZECH REPUBLIC
Sunday 5thJuly 2020                       Wizink Arena, Madrid SPAIN
Friday 10thJuly 2020                       Festhalle, Frankfurt GERMANY
Saturday 11thJuly 2020                  Schleyerhalle, Stuttgart GERMANY
Monday 13thJuly 2020                    Arena Di Verona, Verona ITALY
Wednesday 15thJuly 2020             Arena Gliwice, Gliwice POLAND
Thursday 16thJuly 2020                 Budapest Arena, Budapest HUNGARY
Saturday 18thJuly 2020                  Armeec Arena, Sofia BULGARIA
Saturday 25thJuly 2020                  Ticketpro Dome, Johannesburg SOUTH AFRICA


www.kissonline.com

CAMDEN ROCKS PRESENTS SHOWS through November – December

CAMDEN ROCKS PRESENTS SHOWS through November – December
Camden Rocks presents a raft of talent with their all-day Bonanza shows. Camden Rocks Facebook 
November 16th
Khartoum + Slow Mojo + Rhyn + The Ancient Unknown + Poolhouse + Andy John Jones + Lend Me The Twelve + Luca Mo + Burnt Tongues + Passifs
The Monarch, Camden Town, London
November 23rd
Marisa And The Moths + The Kanz + Cryptids + Tevara + Crosslight + The State Thieves
The Monarch, Camden Town, London
November 30th
The Swagger + Playmaker + Lashes + Dirty Falcon + The Groves + Motorcycle Display Team + Pink Mirrors + Syd Sister
The Monarch, Camden Town, London
December 7th
The Kut + Bexatron + Weekend Recovery + A Void + The Brandy Thieves + Empty Friend + Punching Swans + House Of Dirt + Almost Always + Indya
The Monarch, Camden Town, London

Agnostic Front – Get Loud! (Nuclear Blast Records)

Agnostic Front – Get Loud! (Nuclear Blast Records)

With a movie documenting their incredible career and then the release of this their sixteenth Album (if you include the live records) even when they’ve not hit the giddy heights of the early vibrant releases  Agnostic Front have always stayed true to themselves and their scene and always been honest and to be fair have always had absolute stone-cold bangers on their records.

I’ll be honest I’m a massive fan of Mirets records with the disasters they were amazing and Stigma did a couple of great solo albums but as Agnostic Front was where they always excelled. The Godfathers of hardcore are back and with ‘Get Loud!’ they’ve really come out swinging, an in-yer-face record that draws on everything the band have done previously and poured it all into this.

Fourteen songs of Agnostic Front doing what Agnostic Front does,  In your face Hardcore – New York style. They were never going to stray from the blueprint that’s served the band so well through the ’80s and ’90s and beyond.

A name that is synonymous with a scene Agnostic Front are getting the props far and wide, and the way they unravel ‘Get Loud!’ reflects this and soundtracks a scene that’s as good and strong as it ever was.  Forget the opener for a minute seeing as it was the lead track released because I think its the weakest on offer as ‘Anti Social’ and then the title track fuckin’ nail it as far as the crossover punk-metal hybrid goes and is vibrant and exciting. “Its time to get loud!” is about right, its not four to the floor heads down rage like a bastard its measured like a boxer whos taken stock for a couple of rounds and isn’t coming out swinging but taking a measured menacing approach but hold on to your pants because ‘Conquer And Divide’ is coming out swinging.  Old School, fast as fuck, windmilling, gang vocals and a pulverising riff-a-rama that takes you to the edge then the pulverising breakdown.  Agnostic Front flying the middle finger raging on the system and corrupt officialdom – stand in line folks Miret and Stigma are on it!

I’m loving ‘I Remember’ its Miret telling stories of brotherhood and plenty of AF chest-bumping and high fives and Stigma on the replies – A Monster track right there worth the cost of the album and some.  If I ever found myself in a situation on a subway I’d want to hear some AF in my headphones and I’d like to think what would Roger and Vinny do?

The classic AF sound is here in an abundance they don’t sound like they’re trying too hard to please people other than themselves through the entire album, and the songwriting is exceptional, That heaviness is there for sure but it isn’t overwhelming and the attitude comes across louder and more in your face.  I’m enjoying this album more than the last few albums over maybe a decade or more and I know its early on but even the first play this was screaming at me to turn it up and I found myself hitting repeat which I didn’t do on the last two albums for sure. As the album unfolds songs like ‘Urban Decay’ are on fire and their sub-two minutes is vibrant and marry that with some exceptional depths like those bass runs underlying the brutality of the song is excellent. But hold on because ‘Snitches Get Stitches’ is breathtaking  I’m going to gather the kids around so we can Slamdance and have a circle pit in the front room #safespace and I can be the king of the pit without getting rolled.

Putting this up against the bands back catalogue says that this is a band still on the crest of a wave and riding high.  Agnostic Front has made a record in 2019 that is everything as good as any record in their entire catalogue – bold words you might say.  We might live in very different times from when they blew up in a scene on the lower east side in many ways things are better but globally it might be shittier times more dangerous times and the world needs bands like Agnostic Front pushing the boundaries asking questions and showing that brotherhood means something and is worth fighting for, there are thirty-five years poured into this record – thirty-five years of experiences – thirty-five years of owning a scene and often carrying it on their shoulders like a giant amongst other giants.  Agnostic Front Get Loud! is a triumph and any band young (or old) looking to put out a hardcore album needs to hear this because this is how it’s done properly. Never accuse them of giving less than 100% simply because they don’t just Buy It!

 

Buy ‘Get Loud’ Here

Buy ‘The Godfathers Of Hardcore’ Here

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Author: Dom Daley

L.A. Guns featuring Kelly Nickels & Steve Riley Sign to Golden Robot

L.A. Guns featuring Kelly Nickels & Steve Riley Sign to Golden Robot

L.A. GUNS sign to Golden Robot Records.

If there was a band synonymous with the infamous Sunset Strip it is L.A. GUNS. Born into a scene that will never be replicated, L.A. GUNS rode alongside Guns n’ Roses, Ratt, Poison, Quiet Riot and co. in one of the biggest movements in Music history! Golden Robot Records part of the Golden Robot Global Entertainment Group are extremely excited to announce the signing of Hollywood Rock Royalty L.A. GUNS! A new album L.A. GUNS 2020 will be released next year!

The band was formed in 1986 and signed with Polygram Records in 1987, recording their first album that summer. This first album, titled L.A. Guns, went on to sell over 1,000,000 copies giving the band its first platinum award. Tours with AC/DC, Iron Maiden and Def Leppard followed. A compilation of the videos made from this first album also earned the band a gold video award. L.A. Guns went into the studio to record their second album, Cocked and Loaded, in the spring of 1989. It was a hit right away with the release of “Rip and Tear” as the first single and video. “Never Enough” and “The Ballad of Jayne” followed, pushing the album toward platinum status once again. The video compilation from this album earned the band its second gold video award. A successful world tour followed. The band’s third album, Hollywood Vampires, was recorded in the fall of 1990. With the release of “Kiss My Love Goodbye” as the first single and video, and another successful world tour, the album gave L.A. GUNS its third platinum in a row.

Vicious Circle was released in early 1995 and was followed by another successful world tour. In 1999, L.A. Guns went into the studio to record a greatest hits package titled Black Beauties that also included five new songs written for the album. In 2001, the band released its sixth studio album, Man in the Moon and in 2002 their 7th Album Waking The Dead followed.

After a 2003 world tour to support Waking the Dead, L.A. GUNS recorded Rips The Covers Off with producer Andy Johns. This was a collection of 70’s rock songs. L.A. GUNS began work on TALES FROM THE STRIP and it was released in August 2005. It received some stellar reviews and critical acclaim. A live CD, Loud and Dangerous, was released late August 2006 with the band again supporting it with a world tour.

In November 2011 the band signed their latest record deal with Cleopatra Records, releasing their tenth studio album Hollywood Forever in June 2012. The album was produced once again by veteran music producer, Andy Johns. The new record debuted at #25 on the Billboard Rock charts with the title track “Hollywood Forever”, and it was considered one of the best Hard Rock albums of 2012 by fans and critics alike, proving once again that L.A. GUNS were on top of their game with tracks like “You Better Not Love Me” and “Sweet Mystery”.

Now after some down time, the band has been reborn with the return of Kelly Nickels on bass, Steve Riley on drums, Scotty Griffin on guitar and Kurt Frohlich on lead vocals and guitar.

With more than 30 years’ worth of noteworthy material, the band have proved to be true warriors of the 80’s genre and are geared to tear it up across the world giving audiences the high-octane Rock-n-Roll that is L.A. GUNS. Welcome to the Golden Robot Family!

Handsome Dick Manitoba releases his first solo album, “Born In The Bronx”

Handsome Dick Manitoba releases his first solo album, “Born In The Bronx”
Handsome Dick Manitoba was the leader of the NYC punk group “The Dictators” starting in 1975. The group went through a series of breakups and name changes but always with Manitoba as frontman. This is his first solo release and is backed by a lineup of stellar musicians including P.F. Sloan, Michael Shrieve, Simon Kirke and others. Sloan backs him here on his opus “Eve of Destruction” playing harmonica, guitar and on background vocals.
Available Now via MVD Entertainment Group
He was also an on air DJ on Sirius / XM for 14 years, being recognized by The Village Voice as “Best Satellite Radio DJ” in 2005. Manitoba was also lead singer for MC5 starting in 2005, after the death of lead singer Rob Tyner and remained in that capacity until they disbanded after the death of bassist Michael Davis in 2012.
Manitoba now has a podcast called “You Don’t Know Dick”…and the best is yet to come!

Producer / Co-writer Jon Tiven says:
“We wanted to make a record that was contemporary punk ‘n’ roll with a love for the sound of our early heroes like Wynonie Harris, Bert Berns, and the Beach Boys. I brought in a few of my Nashville friends to play and sing on it—-Buddy Miller, Harry Stinson, Beth Hooker, Shannon Pollard, Chuck Mead, Donte M’Shawn—as well as some old friends to kick the skins Mickey Curry, Mat Reale, Simon Kirke and Mike Shrieve. Our beach song, “Surfside,” was injected with a direct dose of the California Sun by transcendental poet Stephen J. Kalinich, the only lyricist to work with Brian, Carl and Dennis Wilson (as well as Mike Love and Stephen Marks).
I suggested we cut a new version of my pal the late P.F. Sloan’s classic anthem “Eve Of Destruction,” and Handsome Dick was all-in. I even managed to fly in some harmony vocals, harmonica, and acoustic guitar from P.F. himself from some previous sessions I had done with him.
It took us a minute to find the right home for the record, but Arny Schorr stepped up with his Liberation Hall imprint and had all the enthusiasm we needed to see. So this is BORN IN THE BRONX. Germinated in NYC, manifested in Nashville, now available throughout the world… I hope y’all enjoy it!”

Mark Lanegan Band – ‘Somebody’s Knocking’ (Heavenly Recordings)

Mark Lanegan Band – ‘Somebody’s Knocking’ (Heavenly Recordings)

The single best thing about a certain internet shopping giant fucking up my recent pre-order for this the eleventh solo by Mark Lanegan and the fifth of those to come with the added “Band” moniker was that when I was chasing up my order I inadvertently got to read the tongue in cheek review on said website by one Ellie Woozle, a long-time fan of Lanegan’s who described ‘Somebody’s Knocking’ as sounding like an album of Erasure covers performed by Lee Marvin.
This really tickled me simply because whilst it might be an oversimplification of the 14 tracks contained here (after a few listens) it really isn’t that far off the mark when it comes to the super funky electro-pop of ‘Penthouse High’.
Elsewhere though the sound is much more in keeping with the Band evolution which Lanegan has been working on with musician-producer Alain Johannes ever since 2004’s excellent ‘Bubblegum’ album.
There’s the goth rock overtones of 2017’s ‘Gargoyle’ album returning right from the off with the frantic (well by Lanegan’s standard anyway) ‘Disbelief Suspension’ a track that sounds not unlike Lanegan has taken over the role of Lux Interior for one night (or song) only. Meanwhile the tracks that follow like ‘Letter Never Sent’, ‘Night Flight To Kabul’, ‘Dark Disco Jag’ and ‘Gazing From The Shore’ all could have easily fallen off peak period albums by Joy Division, The Cure, Killing Joke and The Cult, however most importantly here the choruses of these songs tower over anything Lanegan has done since that aforementioned ‘Bubblegum’ opus.
Fans of the more melancholic side of Lanegan will revel in the almost New Order goes dubstep feel of ‘Play Nero’ whilst ‘Paper Hat’ is the first time a guitar features as the main instrument on ‘Somebody’s Knocking’ and is the type of dark lullaby Mark has been wowing audiences with since he left Queens Of The Stone Age.
‘Name And Number’ and ‘Radio Silence’ get the Krautrock influence quota back on track whilst ‘War Horse’ is an understated rap delivered as only Lanegan could and in ‘Stitch It Up’ and ‘She Loved You’ the big man is surely just a club remix away from filling dancefloors worldwide.
I can’t say I’m a fan of album closer ‘Two Bells Ringing At Once’ as this track once again strays a little too close to the dour sound of latter-day U2, but that aside ‘Somebody’s Knocking’ is a huge celebration of positivity and is certainly the crooner’s most upbeat record to date.
They say good things come to those who wait, well the 2 weeks it took a certain internet shopping giant to get me a copy of ‘Somebody’s Knocking’ made it sound all the more sweeter when I did get to hear it, and whilst it doesn’t really sound like Erasure covers sung by Lee Marvin for anyone left feeling disappointed with Iggy Pop’s recent ‘Free’ album this is the near-perfect antidote to that record.
Great stuff!

buy ‘Somebody’s Knocking’ Here

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Author: Johnny Hayward

Ginger & The Sinners – St Johns Church Canton, Cardiff. 08/11/19

Ginger & The Sinners – St Johns Church Canton, Cardiff. 08/11/19

Well, this reviewer has been to a few concerts over the years whether it’s been a stadium with thousands of people or a pub with just a few fellow gig-goers but I can honestly say I’ve never been in a church for a night of rock’n’roll antics.

When it was announced that one of my favourite artists a certain troubadour by the name of Ginger Wildheart was appearing in St. John’s church in Cardiff not only was I enticed with the thought of a night with his glorious melodies but also would i not go up in flames in such a holy setting, luckily I came out intact and not in ashes.

Ginger was also airing his new solo band the “sinners” so overall I was more excited than a kid on Christmas eve.

Ginger and his band arrived on stage to a packed St. Johns church and launched into the stunning track “The Pendine Incident” and the sound of a full electric band who were on fire with Ginger was spine-tingling. This new band the sinners didn’t sound like they were gelling on the road it sounded like they were seasoned vets having played hundreds of shows, not just one!  it was vibrant and there was definitely chemistry and tightness to suggest the band had been playing together for years, “WOW”.

“Toxins And Tea” was up next and this beauty of a “G.A.S.S” track saw Ginger in fine voice and it was great to hear it live in this setting.

Ginger announced the sad news that rock’n’roll legend Dan Baird was retiring from the live circuit and in tribute Ginger and his sinners played a fitting version of Georgia Satellites “Six Years Gone” which to be fair was glorious.

Next up was “Do You” and this track has a deep meaning for this reviewer as the song talks about the serious nature of suicide and as I struggle with depression Ginger’s music has always been such a comfort and guide and has helped me through the hard often dark times. One of the things that is so great about Ginger’s music is that he wraps often dark lyrics in a joyous uplifting melody.  so that while it is a serious subject matter it can also be uplifting to you and makes you feel better, (if that makes any sense?) The power of Ginger’s music can be such a great thing.

Moving through his repertoire we reached the Hey Hello earworm of ‘Swimwear’ and by God (excuse the pun) this was stunning with all us gig-goers singing along.

‘The Pessimist’s Companion’ was up next off the roots/country albums and is written about his dog “Maggie”. I truly feel sorry for someone who has never had a furry companion as they are indeed mans best friend. I recently lost my furry best friend “Alfie” and even though I have been feeling down and sad recently the power of music (and particularly Gingers) shines a light through the darkness.

‘(Wye aye) Oh, You’ another gem off ‘The pessimist’s Companion’ album was played and it went down a storm in this live moment atmosphere.

“Petite Mort” saw Givvi Flynn take lead vocal duties on the Yolanda Quartey vocals (who originally sang this track) Obviously I had heard of Givvi but had never had the pleasure of hearing her live and all I can say is “Wow” her voice soared as high as the church ceiling and was amazing in these truly celestial surroundings. simply stunning.

We were treated to the double whammy of ‘The Daylight Hotel’ and ‘Paying It Forward’ off Ginger’s other roots/country album ‘Ghost In The Tanglewood’ and these songs were glorious in the church surroundings.

‘Honour’ another “G.A.S.S.” gem was played next which originally had “Courtney Love” on vocals but yet again “Givvi” stepped up to the plate and smashed it out of the park with her and Ginger’s voice harmonising together beautifully.

Ginger informed us that ‘The Words Are Gonna Have To Wait’ was written about “David Bowie” and this track was a fitting tribute to such a legendary artist and being in a church who’s not to say that the legend wasn’t looking down and tapping his foot accordingly.

‘No One Smiled At Me Today’ is another one of this reviewers favs and to get to hear it in a live setting was truly magical.

Ginger recently released another excellent solo album titled ‘Headzapoppin’ and I was hoping for a track to be played off it and I was not left disappointed as “Zap” was aired and it sounded as great live as it is on record.

Next up who’d have seen the band cover the Quo classic ‘Dirty Water’. I am ashamed to say that I didn’t know this track but I really enjoyed it (my homework will be to delve into the Que catalogue).

‘Caer Urfa’ was better live than on the record may be the surroundings had it elevated.  Us Ginger fans know what a genius songwriter and musician he is but what is often overlooked is what a great singer he is and his vocals were epic on this track no doubt helped by the epic acoustics of such a high ceiling.

With that Ginger said thank you but with the crowd wanting more he said he would be back in five minutes much to the crowds and this reviewers relief and exited the stage with St. John’s church clapping and shouting for more.

Upon their return, Ginger and his Sinners played the familiar chords of ‘Geordie in Wonderland’ and bang the crowd were all singing along.

Up next would be the last song of the evening and yes, sadly all great things have to come to an end. the way the evening had panned out it was always going to go out with a bang so, What else was he going to play in a church to bring an end to a mega evening? The glorious ‘Loveshit’ (sorry God) and with that this awesome show comes to an end.

All this reviewer can say is what a memorable night this has been weather being in the stunning surroundings of St.John’s church or hearing a truly on fire band (not Due to being in church) what a magical night this has been and what a setlist we were treated too with Ginger digging deep into his classic catalogue of tunes that we rarely here live.

Please get out and see Ginger Wildheart as whatever problems you’re going through and in these tough trying times we all need some happiness and trust me, going to a Ginger show will leave you with a joker sized grin on your face and a warmth in your heart that money cannot buy.  It would be a shame if this wasn’t repeated in the future so with a quick prayer I legged it before I burst into flames. The devil on tonight’s evidence doesn’t have all the best tunes Ginger and the Sinners have them.

Author: Gareth ‘Hotshot’ Hooper

Michael Monroe /Electric Eeel Shock / Mother Vulture – The Fleece – Bristol 07/11/19

Michael Monroe /Electric Eeel Shock / Mother Vulture – The Fleece – Bristol 07/11/19

Last week we had Ben reviewing one of the early shows on this tour and by all accounts another memorable night in the company of one of music most exceptional performers. Catching the tail end of the tour there were no plans to run a review but when we have bands this good it seems only right we should cover them as much as possible. Damn this band should be playing bloody arenas and be a household name but we know the world doesn’t work like that. for now, the people who get rewarded are the ones who just know, right? right!

Tonight the Fleece is very busy which is always a good sign, the last time this band played here in Bristol was aboard the good ship Thekla and the attendance wasn’t great. Tonight, with a brand new album in tow it was already looking promising as the room was busy for the opening band – Mother Vulture. They took the stage but quickly they weren’t my cup of tea at all, from the soaring vocals to the new wave of classic rock schtick of the band’s repertoire it’s just not what I listen to but there are plenty of satisfied punters digging their thing.

Next up Electric Eel Shock. A three-man ’80s cock rock assault on the senses, sure it’s bordering on the Barron Nights comedy but these guys do have a song in the shape of ‘Bastard’ that is so ’80s it’s wearing its own spandex and coughs up its own hairnet hairspray can.  They throw in enough shapes to make a Whitesnake tribute band blush and Don Dokken’s hair would fall out (again) if he were to follow these guys on stage.  But they have the audience smiling and wearing a Hanoi Rocks t-shirt is always going to go down well. Job Done I guess they have fun paying their dues and the audience goes along with them. 

Now, the reason we’re all here. Michael Monroe band, strap in, its time to Rock Like Fuck! After hearing many reports of how good the band has been on the tour so far and with only three shows left on the tour surely this one was going to be off the scale with the Fleece being such a good venue even with the pillars running through the venue it’s steeped in Rock and Roll. (even if they make their bread and butter off bloody tribute bands but if that means that nights like tonight and bands like The Monroes can tour and play then even I’ll turn a blind eye).

With ‘One Man Gang’ on heavy rotation the albums growing in stature on every play,  it’s a breath of fresh air to hear the band blast off with the opening five songs all taken from the new record! A bold move for any band but one that gets my approval that’s for sure. From the frantic punky title track to the catchy chorus of ‘Last Train To Tokyo’ to the New York cool of ‘Junk Planet’ this is cooking up to be an exceptional performance. With the band locked in and moving like a cat on a hot tin roof its hard to keep up,  with plenty of smiles on stage it looks like they’re having an absolute ball in this band. Of the songs on the new record to hear them run through ‘In the Tall Grass’ is super cool and such a great song to take on so early on in the set is a supremely confident move from such a great band.

Monroe and Conte make themselves comfortable on the barrier for a nice run through ‘Ballad Of The Lower East Side’ before ripping up ‘Old Kings Road’.  the band were flying through a rapid set that had ’78’ up next before cooling things down with a mellow ‘Black Ties And Red Tape’ (Not)  I’ve seen Monroe many many times live and with many line ups and in many venues all over the UK and I have to say with the exception of Hanoi Rocks classic line up in the mid 80s this is by far the best line up he’s had and the entertainment value is off the scale (it does help having such a strong cannon of songs to pick from for sure) but tonight they are on fire.

Step forward Mr Yaffa as we get the first Hanoi song of the evening as he thumps his way through the intro of the classic ‘Motorvatin’. Always wearing some splendid headwear and playing his bass with such style and having a Perma-smile its such a pleasure to be in the company of such talent. We get another new one in the shape of ‘Hollywood Paranoia’  before we head into the home straight as another thumping rendition of ‘This Aint No Love Song’.

I could have stayed all night listening to new songs or solo material played with an energy most bands could only dream of achieving but its also always nice to hear that Saxophone and a couple of Hanoi rocks tunes so things do slow down for a minute or two as ‘Don’t You Ever Leave Me’ makes way for ‘Malibu Beach’ before they hit the cover that the band took ownership of on the ‘Two Steps’ album ‘Up Around the Bend’ sees people lose their shit as the kids say and there are going to be some saw heads come the morning. The main set is wrapped up with a pulsating ‘Dead, Jail Or Rock and Roll’.

Play Vi

I’m still scratching my head as to how fuckin’ good this show was and how the hell this band isn’t playing venue ten times this size. I will console myself in the fact that if the world won’t listen then that’s their loss and you can only lead a horse to water and all that. The night wasn’t quite done yet as we had the pair of tunes from Demolition 23  and ‘Nothing’s Alright’ followed by the high kicks that go with ‘Hammersmith Palais’ which only left a blistering duelling rendition of the Stooges classic ‘I Feel Alright’ and then they were finally done. Until the next time that is and the sooner the better.  If you get the chance to see this band then take it they have a superb new album they’re showing off and its raised the bar for everyone else to follow.
There aren’t many bands who can compete with this one on the kind of form they were on tonight and it’s why going to live shows is still so much fun. Great company, great venue, great band, great songs, great memories and great fun and always a frontman who Rocks Like Fuck! always a pleasure – never a chore.
Author: Dom Daley