The Alarm – ‘Forwards’ (The 21st Century Recording Company)

The Alarm – ‘Forwards’ (The 21st Century Recording Company)

We all know the story by now of how this record came to life whilst the main protagonist and only original member Mike Peters was in Hospital fighting pneumonia after a breakdown in his medication against his long-term leukaemia battle. Armed with a ward of Doctors a guitar and a headful of ideas as well as some PMA, Peters wasn’t sure his voice would hold up so set about recording the latest Alarm record as a way of fighting the good fight and probably for his own sanity and way of dealing with his latest battle.

‘Forwards’ begins with the Title track and on first impression, it’s a fairly standard Alarm sounding song. Nothing wrong with settling into a record and easing in on familiar ground (call it safe, unsure or just setting out one’s stall). It’s ‘The Returning’ that dials up the Rock with another big chorded song, with plenty of digital tweaks and buzz flyovers adding texture to the song. The lyrics grab your attention where Peters, staring into the abyss of his predicament needs to let it out to exercise the demon in the room. and for such a positive man, maybe, negative thoughts have infiltrated. Feelings that he’s reached the end of the road and a terrifying reality winds up in his lyrics. Chilling and a moment where I’m stopped in my tracks, however, I’m still waiting for this record to really grab me musically. sure the backstory is nuts and most mortals wouldn’t even contemplate picking up a guitar.

I love that Mike Peters still writes and releases new music and through a chequered career he’s had very high highs, from the humble beginnings of the originallineupp through an upward trajectory they amassed a hardcore following that was steadfast through some savage attacks in the press butgalvanizedd them somewhat until that night in Brixton. Then a solo output that released records like ‘Breathe’ and ‘Rise’whicht were exceptional records along with the incredibly creative poppy fields project he’s kept me coming back for more through decades and projects like Coloursound and Jack Tars or Dead Men Walking Every time you think thats it he’s come back with something special.

By the time I’ve reached ‘Love And Forgiveness’ with a gentler song with hushed vocals, Peters has hit paydirt. Without a recognised bass player in the lineup or should that be a traditional lineup of Bass, Drum, Guitar, and vocal its definitely a talking point, however, whoever is playing the bass lines throughout the track should pat themselves on the back it’s a real draw and pulls you in on an excellent song and one of the records real high points.

Side one closes with the rockin’ ‘Next’ and again with some exceptional solos and fills it’s a smooth uptempo song that is really good. I like the attack and the production from George Williams it’s just the right side of “Big production” and has enough dirt under its fingernails to appeal to the cool kids it’s a winning formula that Peters should do more of, no doubt about it.

Side two opens with the rush of ‘Whatever’ a great up-tempo electric meets acoustic intro that breaks down that’s anthemic but steering far enough away from being lush and delving into cliché territory with lyrics that can be interpreted to light at the end of the tunnel of the dreadful time this record began its life in. It is alright as Peters leads the gang vocals and whatever gets you through is always good.

New technology meets old as ‘Transition has its throbbing technology layered beneath the Baritone guitar as it licks around the throb whilst the layers of electric guitars fall like an avalanche into the chorus before the solo but its Peters vocals that hit front and center and any fear he might have had whilst in his Hospital cell are put to bed with an exceptional sounding delivery.

‘Love Disappearing’ is the most sounding Alarm song on offer with its ‘Strength’ like intro but when it gets going its got an aggressive edge that’s good to hear sure it’s polished and big but it’s like its been given all the knobs and whistle treatment but then been wiped with sandpaper to give it grit and edge and that works and the frailties of Peters limits on his vocals works well and the harmonica honk is well placed.

‘New Standards’ is possibly the most Alarm sounding song of the lot and will play to the gallery and that’s fine. I hope it’ll grow on me like a lot of this record which to my ears is a whole step up from the last few that were ok but didn’t enthuse me apart from the odd track. This is far better on first impressions and even though I’ve only had a few plays but my first impression is, it’s got a lot of excellent songs and avoids cliches that people like to hammer Peters for. I look forward to hearing some of these songs live and giving them the live test but ‘Forwards’ is a record that does have some instant appeal but I hope it’s got depth that will keep me coming back for more.

The record finishes with ‘X’ as the band wrestles to tame a beast that twists and turns and meanders through its verses with layered vocals and a scuffing riff. Some excellent sounding and prominent drum fills that work well through some very wordy verses its a top tune to close off the record. Peters empties what’s in his head and does it well as he puts a life into some sort of perspective reaching clarity as the song unfolds. I love the use of harmonica and where the verse breaks with the chaotic loops and keys layer add something different and then we go back in and rise again. an exceptional song to close off a thoroughly enjoyable album.

I kept an open mind about ‘Forwards’ as I didn’t want to reach unrealistic highs for one of my favourite recording artists and I think my strategy has paid off. I can reap the rewards of a really impressive album. I haven’t enjoyed an Alarm album this much since ‘Under Attack’ and I know its early doors. I hope that this album grows and gets better with every play and I still feel the love in months to come as the earworms burrow down and take hold. Buy it!

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Author: Dom Daley

The Primevals – ‘The Dividing Line’ (Heavy Medication Records/Ghost Highway Records/Triple Wide Records)

The Primevals – ‘The Dividing Line’ (Heavy Medication Records/Ghost Highway Records/Triple Wide Records)

This year marks the 40th anniversary of Glasgow’s garage-rockers The Primevals, ‘so we’re excited to be releasing their 12th album “The Dividing Line” in conjunction with Ghost Highway Recordings (Spain) and the band’s own Triple Wide imprint.’The Dividing Line’ is the band’s twelfth album believe it or not. With their soulful traditionally bluesy garage rock style ‘The Drop’ oozes class sounding like a cool North of the Border Lords Of Altamont without the Leather jackets and long hair this is the work of a gritty Glasgow gang and it is a very decent opener.

The harmonica honking ‘Sonic Pathway’ with its organ stabs and smouldering feedback is a howling good time giving the fantastic Fuzztones a run for their farfisa money. I must admit this is my first foray into the bands material and most enjoyable it is too. God knows how I’ve never crossed paths with them before now but its better late than never right? Right! I do wonder how even as an avid underground hipster I’ve not heard them before seeing as the Garage Rock scene in the UK isn’t exactly huge.

The recording is crystal clear and gives the band the space to show us what they’ve got ‘Drifting Away’ has more than a melodic kissing cousin to ‘Brown Eyed Girl’ on the verses but I like the ragged glory of the riff and the keyboard swirl on the pre-chorus. I’m sure some of the bands I’ve already associated them with are influences and the excellent ‘Don’t Cry’ is an uptempo rocker with some cool guitar breaks and confident stomp, much the same mantra for most of the album to be fair. Of course, these guys know what they’re doing and they are more than capable of turning in some cool tunes throughout even when they kick back like ‘High Street’ its engaging and theres a warmth about the songwriting.

The ultra fuzzed ‘WTFHTU’ is a wheeze from that speaker bothering bass to the organ whirling layer its a top tune and I can imagine a lot of fun live. Things get dark on ‘Sucking On Nothing Sweet’ with its Doors like intro before heading uptown its got a driving tempo and a decent arrangement.

‘The Dividing Line’ shows there’s still plenty of Rock and Roll left in this old dog and be it uptempo ‘Grit And Grime’ or signing this album off with a couple o frockers mixed withtheir more soulful garage style The Primevals do Rock and Roll really well and although they’re not here to reinvent the wheel this bad boy rolls nicely. Check em out Brothers And Sisters you might just dig their sound and get onto the right side of the dividing line.

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Author: Dom Daley

Phil Campbell & the Bastard Sons – ‘Live in the North’ (Nuclear Blast Records)

Phil Campbell & the Bastard Sons – ‘Live in the North’ (Nuclear Blast Records)

When Motorhead folded after Lemmy’s death in 2015, everyone wondered what would become of guitarist Phil Campbell and drummer Mikkey Dee. Would they stay together and form another band? As it turns out, that wasn’t to be, these days Mikkey sits on the drum throne for German metal titans the Scorpions, and Phil Campbell turned his side project while he was in Motorhead; Phil Campbell’s All Starr Band into something permanent and changed the name of the band to Phil Campbell and the Bastard Sons. The Bastard Sons in question are of course Phil’s actual sons Todd, Tyla and Dane on guitar, bass, and drums respectively.

 A self-titled EP was released in 2016 and they released their debut album ‘The Age of Absurdity’ in 2018 on Nuclear Blast records. The album was well received, winning best album at the 2018 Metal Hammer awards. The band succeeded in salvaging some of the Motorhead swagger with a modern edge that helped them fit in to the NWOCR movement.

 Their second album ‘We’re the Bastards’ which was released in the autumn of 2020, followed on nicely from the debut with more fist pumping anthems. In 2021 the band parted ways with vocalist Neil Starr. Andrew Hunt from Buffalo Summer/Valhalla Awaits filled in for some live dates including a headline spot at 2021’s Steelhouse Festival while the band looked for a full time replacement for Starr.

In January 2022 the band announced Bootyard Bandits front man Joel Peters as their new vocalist after completing a UK tour with PCATBS. The band have always been a force to be reckoned with live and with this latest release ‘Live in the North’ we have been given a great insight into just how good they are as a live unit. I have been lucky enough to have seen the band live numerous times now, and they never disappoint. The album was recorded in 2021 at the Independent in Sunderland and the track listing has a dusting of both studio albums as well as some Motorhead classics and material from Phil’s solo album ‘Old Lions Still Roar’.

Kicking off with a rousing rendition of ‘We’re the Bastards’ the band are on fire throughout the set. Joel Peters sounds like he’s always been there fronting the band, he really is a fine front man, engaging the crowd and singing his heart out. The Bastard Sons themselves are all fine musicians and play a blinder here as always. Drummer Dane is world class and shows his fine-tuned chops here driving the band all the way. Todd and Tyla sound great, Todd’s crunching guitar sound works perfectly and Tyla has that rumbling bass sound that’s worthy of every Lemmy lick he plays. Then we have Papa Campbell himself, still playing like his life depended on it every night, he really is an inspiration. ‘Bite My Tongue’ swaggers along nicely, ‘Rock Out’ sounds revitalised here with a little more pace than the Motorhead original. ‘Spiders’ grooves along with a riff that Tony Iommi would be proud of. ‘Son of a Gun’ is an absolute belter of a track that sounds so much better live. Motorhead anthem ‘Born to Raise Hell’ is full of rock n roll boogie and is a guaranteed crowd pleaser. ‘High Rule’ is another track that sounds better live with its double time chorus that Dane has a ball with. ‘These Old Boots’ pumps along nicely with Peters taking on the vocals that Dee Snider of Twisted Sister provided on ‘Old Lions Still Roar’ with ease.

We are then treated to a breakneck speed version of ‘Ace of Spades’ which rolls into a clap along rendition of Hawkwind classic ‘Silver Machine’. ‘Ringleader’ brings us back to the band’s original material with a bang before we are ‘Going to Brazil’. ‘Dark Days’ does what it says on the tin, a brooding chug fest that comes into its own in a live setting. ‘Big Mouth’ from the bands debut EP is a mainstay in the bands set and always goes down a storm. The album closes with a fantastic execution of Motorhead’s ‘Killed by Death’.  

‘Live in the North’ is a solid representation of Phil Campbell and the Bastard Sons in a live setting. A great listen from start to finish, and with 15 songs and just under an hour’s duration, you get plenty of bang for your buck. As I write this, the band are taking pre orders for a signed CD version or a T shirt and CD bundle. Get on it quick people! Oh, and fuck you Tyla Campbell!!

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Author: Kenny Kendrick

The Godfathers set to release new EP & expanded ‘Alpha Beta Gamma Delta’

The Godfathers set to release new EP & expanded ‘Alpha Beta Gamma Delta’

The Godfathers will release a brand new ‘I Hate The 21st Century’ EP & also an expanded 2 CD version of their critically acclaimed ‘Alpha Beta Gamma Delta’ album that includes a cornucopia of previously unreleased bonus material. 

The ‘I Hate The 21st Century’ EP (released 9th June) features the title track & ‘You Gotta Wait’ from ‘Alpha Beta Gamma Delta’ & previously unreleased, alternative acoustic versions of ‘Straight Down The Line’ & ‘Tonight’.

The 26 track, new double album entitled ‘Alpha Beta Gamma Delta PLUS’ (released 16th June) contains the original album on CD 1 & a wealth of unreleased material on CD 2 – studio numbers recorded at the album sessions, previously unreleased alternative acoustic versions of key songs & ‘Alpha Beta Gamma Delta’ related live tracks from the band’s celebrated Rockpalast TV special performance in Germany in 2020,  including an electrifying cover of The Stooges ‘I Wanna Be Your Dog’. Full track listing for ‘Alpha Beta Gamma Delta PLUS’ will be announced soon.

The ‘I Hate The 21st Century’

EP & the ‘Alpha Beta Gamma Delta PLUS’ double album can both be pre-ordered NOW via 

http://www.thegodfathers.bigcartel.com/

The Godfathers will also play 4 UK gigs in June – Edinburgh, Wigan, London & Hull.

15/6/23 – Voodoo Rooms, Edinburgh 

With very special guests Twisted Nerve

https://www.seetickets.com/event/the-godfathers/the-voodoo-rooms/2552212

16/6/23 – The Old Courts, Wigan

https://www.theoldcourts.com/shows/the-godfathers/

17/6/23 – O2 Academy Islington, London 

With Very Special Guests The Urban Voodoo Machine 

https://www.ticketmaster.co.uk/the-godfathers-london-17-06-2023/event/1F005E44EA391824

18/6/23 – The New Adelphi, Hull

https://www.see tickets .com/tour/the-godfathers

Jim Jones All Stars/US – Newport, Le Pub – 20th May 2023

Jim Jones All Stars/US – Newport, Le Pub – 20<sup>th</sup> May 2023

Making our way through the wretched hive of scum and villainy gathered on the streets of Mos Ei… sorry I of course meant…Newport, on route to entering our favourite local cantina bar, Le Pub, I’d perhaps be forgiven for thinking I’d actually stepped back in time, to a film set not from the 1970s, but in fact the 1960s and that scene in ‘Blow Up’ where David Hemmings walks in on the Jeff Beck and Jimmy Page version of Yardbirds rippin’ through a rough as they come version of ‘Train Kept A-Rollin’’. That’s because Finland’s finest rabble rousers US are in the house tonight opening proceedings for Jim Jones All Stars, and they are making an immediate (and very positive) impression on those of us in the sweaty confines of Le Pub early doors.

Having recently completed a set of UK shows in support of the fast rising His Lordship, US are not only a band seemingly out of time, but also out of this world, their music falling somewhere between garage rock and out and out old school R&B, with the Helsinki 5 piece not only winning the sharpest dressers in Newport award tonight, but also truly sounding like the real deal too. I could say they remind me of The Strypes, as they look as young as those Irish lads did in their early years, but no, these lads actually remind me of The Sonics, and that’s a world of difference in my book.

US are playing a series of UK shows this summer including a run of 5 shows at this year’s Glastonbury Festival, make sure you catch ‘em while you can, as these guys are going to be going places. 

Having witnessed Jim Jones during his time fronting revolutionary psych punks Thee Hypnotics (first time around and the brief pre-Covid reunion), along with his roustabout Revue years and those most Righteous of Minds days, my most recent encounter with the singer/guitarist was at this year’s Vive Le Rock Awards in London where he briefly put a spell on us all fronting the house pick up band the Vive Le Rockers.

Why do I mention this? Well, simply because the 8-piece band that now makes up the collective known as the Jim Jones All Stars is like the perfect sum of all those already great parts…but (as some welly wearing comedian used to say) there’s more. Much, much more.

I’m not sure exactly what it is, but there’s times tonight where the All Stars sound like they could be Stax or Sun (oh and let’s not forget Bell either) Records recording artistes, there’s just so much soul emanating from the stage, and that extra little touch of class that the dual saxophones bring to proceedings is nothing short of musical genius.

For their hour on stage (which literally felt like it was over in the blink of an eye) we get reinventions of classic Revue tracks like ‘Cement Mixer’, ‘Burning Your House Down’, ‘The Princess And The Frog’, along with a truly off the scale ‘Rock ‘n’ Roll Psychosis’ plus there’s a seismic rendition of the Righteous Minds’ ‘Satan’s Got His Heart Set On You’ along for safe measure, something that very well might just have woken up any dozing Rontos chained up outside. (Jeez, I never do any Star Wars references and that’s two in one review). Plus of course there’s the All Stars very own anthem in the making, the hip shaking, ‘Gimme The Grease’, which really is a sign of truly great things to come.

Whilst a lot of the other bars in Newport would see cover bands playing in them tonight, I will bet my mortgage on the fact that none of those bands will have covered both ‘Run Run Run’ by The Velvet Underground, and ‘Everybody’s Got Something To Hide Except Me And My Monkey’ by The Beatles. Unfortunately, there’s no space in the set tonight for the band’s version Of ‘Human Fly’, aired during their inaugural live shows, but I’m more than happy to trade that in for the All Stars’ rendition of Thee Hypnotics’ ‘Shakedown’ that closes things out tonight. Wow! That really is all I can say, apart from this is how I always wanted to hear this song delivered live, and like the wise old sage stood by me during the show shouted in my ear, it really did “sound like The Stooges in their prime”.

With the clock ticking down to the dreaded night club early load out, there was just enough time for a whirlwind run through of the Revue’s ‘512’ before we were all being ushered out into the main bar and ultimately out into the maybe not quite as cold as usual Newport night air.

This long since sold out show will surely feature on many of its (very lucky) attendees’ gigs of the year list, and after seeing Jim Jones perform with all those aforementioned bands, I feel he’s really hit on something very magical indeed with the Jim Jones All Stars. 

This is without question his finest hour yet, truly exceptional stuff!

Author: Johnny Hayward

Dead Express – ‘Game Changer’ (DXS)

Dead Express – ‘Game Changer’ (DXS)

Action Rock or Scandi Rock call it what you like – it’s alive and kicking (and screaming) as Dead Express will testify. With this album of loud guitars with some Garage punk rockin’ attitude Dead Express sing from the same Hymn sheet as the likes of Hellacopters and Gluecifer for starters and to be fair they do it really well.

‘Game Changer’ is the bands fourth album and I’d suggest you pull up a chez lounge and a couple of cold beers and get ready to sing along. Formed in  Nyköping, Sweden. they’ve certainly not let the grass grow around their feet having produced albums consistantly with a sound DIY ethic the production is crisp and packs a punch.

The songs that come across the best are the ones with the big hooks either a riff or the gang vocals the opener ‘Roky’ has a good riff and the melody grabs your attention no doubt about it. ‘Hang Em High’ is one of the albums strongest songs. ‘Stinkin Rich’ is a badass tip of the hat to Angus and DC with a crisp riff. To be fair the Riffola is pretty relentless as the songs roll by and by the time you hit ‘Road Trippin’ with its fucked with ‘All The Day’ melody nicked from the Kinks and dragged through the dirt on the back of a drag car no doubt whist the band chug beers all the way. I dread to ask what ‘The Swamp Incident’ might be all about.

As the album screeches to a halt, there’s a track entitled ‘Method To My Madness’ – They couldn’t could they? Hell no is the answer to that, few some songs are sacrosanct and that might just be one of them. Their song of the Lord’s name is pretty decent as it wipes its snotty nose all over the song from the choppy riff to the punky melody and sing a long chorus it’s one of the best songs on offer.

This steaming rockin and rollin machine grinds to a halt with a balls to the wall all out rocker ‘The Naked Truth’ and then no doubt they all exploded into oblivion due to rockin so hard. If you want a full tilt sleazy Action Rock experience then Dead Express might just be the band you’re looking for otherwise step aside sucker because these cats aren’t stopping for anyone – they’re hellbound and outta control.

Buy Dead Express Here

Author: Dom Daley

Homicide Idols – ‘Homicide Idols’ (Helvete’s Kitchen)

Homicide Idols – ‘Homicide Idols’ (Helvete’s Kitchen)

Short, stabbing blasts of lo-fi punk, recorded in the red, and unearthed after some years, Homicide Idols is an abrasive yet extremely satisfying listen. Get over the Lo-Fi sound (it hides a multitude of sins) it shows attitude and challenges the listener whether you like it or not. oh, and I guess it’s the ultimate punk rock sacrifice (just think endless nameless – everyone whose ever played that would love to hear it clean and not fucked). Influenced by the Germs to the mighty Dead Boys to the Reatards, this album has it covered with fuzzed-out, catchy guitar riffs and gravel-spitting vocals.

From the opening punk as fuck ‘Nothing To Me’ is like the Gaggers on 78 played through a biscuit tin. Choppy abrasive riff with a melody buried deep in the mix. I guess thats the bands modus operandi because ‘young, sick And Pissed’ is more of the same just played a little faster. If someone uncovered some Dee Dee Ramone demos under his bed then this is what they might just sound like.

I do love a bit of Lo-Fi and from the rattling snare intro of ‘Terminal Weekend’ I’m all in. I’ve invested my time in this and love it, The Johnyn Thunders guitar breaks are a joy and the fact it slams straight into ‘Dead End Life’ is a bonus. furious and fucked up – crack on gentlemen you’ve got your fingers on the pulse right here.

theres nothign original on offer here but some of these Riffs are sweet – take ‘I Want Blood’ it’s got energy and sounds like a speeding runaway train heading for the buffers and nobody gives a shit because we’re living in the moment and its rockin hard. The fact its barely fifteen minutes is no time at all and certainly not enough time to get bored of the thrashing about or low vocal. Hell on ‘you Got The Leather’ they even have time for a cool yet brief break down.

The album closer starts with a rapid Bass and drum workout (yup there is a bass guitar adding low end – I think) before thrashing off into oblivion covering the listener in gob and sweat whilst wearing a shit-eating grin. That album was a fuckin blast of unadulterated energy and fun and it just leaves time for me to say get on it and fuck them all this shit is da bomb!

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Author: Dom Daley

Peter Doherty – The Battered Songbook Tour – Bristol O2 – 29.04.23

Peter Doherty – The Battered Songbook Tour – Bristol O2 – 29.04.23

Having been under the weather for the previous few days and still suffering from an infection a very busy O2 Bristol gives Libertines, Babyshambles frontman Doherty a very warm welcome in the spacious environment for an “intimate” acoustic performance. Peter is accompanied onstage by his two rather large dogs who stroll on and make themselves comfortable making the whole thing quite surreal.

I can’t help but feel that playing this kind of show would work so much better in a small compact venue but then a fraction of the people would get in but that’s the way it goes, the O2 is impersonal and cavernous for a one-man acoustic show even if it was a treat to hear some gems played this way by a writer who has written some of the best songs and lyrics over the last few decades. Doherty is a genius and it felt a treat and a privilege to witness the man perform in this way. Whilst he might well have been playign to a set list it certainly didn’t feel that way as Peter meanders through the songs finding a comfortable pitch and easing his vocal into the set whist interacting with the audience as shouts go out for favourite songs and classic cuts this is loose as Dylan and Richards and Wood at live aid (go find it) its Libertines heavy in the opening exchanges, ‘Music When The Lights Go Out’ is very early in the set along with a couple of Babyshambles choice cuts with ‘Bollywood To Battersea’ working really well.

Mid set we were treated to a fantastic ramshackled ‘Can’t Stand Me Now’ where the audience found its voice and joined Doherty for the best song written by anyone in the UK for decades. As we headed into the homestraight and Peters voice was showing little signs of wear that had him postpone a show a few days earlier ‘Don’t Look Back’, ‘Time For Heroes’, ‘What Katie Did’ went down a treat before ‘Last Of The English Roses’ was aired along with a new song entitled ‘The Barons Claw’.

Possibly the best song of the night was an epic version of ‘French Dog Blues’ before ‘Albion’ kissed goodnight to a really chilled night out where I witnessed people jostling in the pit to a one man acoustic evening which was cool. To be fair I love his lyrics and I’ll take his music be it with a rock and roll band or ensemble of musicians as well as on his lonesome. Peter Doherty is a poet and one of the United Kingdoms finest songwriters and to him stripped bare like this was a real treat.

Author: Dom Daley

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

We’ve been banging on about Texas singer/songwriter Ryan Hamilton since before RPM was even a thing, and for good reason. Ryan is an artist who always seems to be on the verge of breaking through with every new album, before some personal tragedy scuppers his plans and he’s back to square one.

They say what doesn’t kill you makes you stronger, well that all depends on what is trying to kill you, I guess. In Ryan’s case it could be a cheating first wife, addiction, divorce, online abuse, the record business, cancelled tours and most recently…a delayed album due to manufacturing errors. All the above have happened in the last decade and you really couldn’t make it up, but Ryan is still soldiering on, and thank your lucky stars he is.

‘Haunted By the Holy Ghost’ follows his 2020 break up album ‘Nowhere To Go But Everywhere’ and the following lockdown album ‘1221’. Produced by go-to-guy Dave Draper who also plays bass, along with Ben Marsden on guitar and Carol Hodge and Emily Ewing on backing vocals. It was recorded at Draper’s studio The Old Cider Press and Ryan’s home studio in Texas, making the whole album a transatlantic power pop affair.

The opening song ‘Asshole’ shows Ryan’s current attitude towards the music business. It was released on Valentine’s Day as an act of self-sabotage guaranteeing zero radio airplay, which is maybe a silly idea if you are a struggling artist wanting airplay, but I’m sure he knows what he’s doing…. but its ok, because this album is choc-a-bloc with singles!

The title track is classic Ryan power pop, a radio-friendly earworm inspired by his Catholic upbringing. With an infectious hook and a euphoric feel, it is an early highlight. ‘Paper Planes’ again, is the sort of song Ryan first showed promise with on ‘Hell Of A Day’, full of quirky, power pop goodness and a euphoric middle section that takes it up a notch.

Ryan is never shy to pen an 80’s style power ballad or two, and for this album he has outdone himself. There are two ‘lighter in the air’ moments that could end up on future teen lovers’ mixtapes. The first ‘Overdose’ is not about drug addiction, but about falling madly and deeply, like ‘first love’ deep or ‘marriage material’ deep. You know, right? We’ve all been there. Elsewhere the emotive ‘Absence Of Love’, lyrically is the complete opposite to the aforementioned ‘Overdose, while full of heartbreak and yearning, it is still as emotive though.

A cover of Splender’s ‘Yeah, Whatever’ is given a lick of aural magic by Ryan and Dave Draper. Indie beats and those quirky vocals give the turn of the century alternative hit a new lease of life, as they do with George Strait’s ‘All My Exes Live In Texas’. This fun run through was a past single but shows its face here as a hidden track (it’s a homage to the CD era, kids!) after the closing song of the album.

‘Sad Bastard Song’ officially closes the 12-track album, and it is the best song here for several reasons. For one, I just love the countrified acoustics and pedal steel guitar vibes, and secondly the tongue-in-cheek lyrics may on the surface make it seem like a throwaway, comedic song for losers, but the stark reality is that these lyrics are from the heart and probably ring truer than you would think, and it’s probably my favourite song on the goddamn record.

It’s a sad fact that some of my favourite artist from the last 30 years will never get the commercial success or the critical acclaim they so rightly deserve. Times are tougher than ever for the underdog, but only one thing can make a difference…you, the music buying public. It would be a tragedy for an album this good to slip under the radar when it should be up there with the Adele’s and the Tayor Swift’s of the world, but how can Ryan compete with those big guns? Who knows, but maybe if when you finish reading these words, you were to click a link and buy this album, that would help just a little. I mean, c’mon, it’s worth it just for that cover art of Jesus in shades, right?  

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Author: Ben Hughes

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.

The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.

The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.

The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.

I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.

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Author: Dom Daley