The Drippers are back for a second bite at your cherry – If 2019’s “Action Rock” smashed you around the ball bag with it’s full on fuzz mastery, then “Scandinavian Thunder” may make you shit your pants!
After two years and a world wide plague, the Gothenburg threesome have teamed up again with the legendary Tomas Skogsberg – the man who has previously twiddled the knobs of The Hellacopters, Gluecifer, Entombed and Backyard Babies – and have squeezed the sound of all of them into one super sexy Sunlight Studio cock-tale.
Okay, phaser, wah, BOOM!!! and off we go……”5 Day Blues (2 Day Boogie)” is quite simply the banger that sets the scene for the next half an hour of full on sexy Scandinavian magic.
Next up “Overload” blends motor bikes and Motorhead into a very satisfying chunk of noise, while “No Stars” drags you kicking and screaming into Turbonegro / Hanoi Rocks territory.
Tempted to check it out yet? I bet you are!!
Next up “Time For Some Action”. A track so good that they filmed a video to celebrate its majesty. It’s simply a tune that Backyard Babies would kill to come up with these days.
“Shine No Light” is of a whirlwind of a rocker, while “Racing Down A Dead End” is another lesson in balls to the wall – Total 13 – Scandi-rock mastery.
The bass intro and drum beat of “Rollin’ Aces” takes on a fast and furious Motorhead white knuckle ride. Chuck in some wah guitar and BANG another stand out track.
“Draparshuffle” serves to remind you how great an album “Action Rock” is – whadda-ya-mean you haven’t heard it???……YET!!
Into the home straight now – the frenzied wah attack of “Shit Island Showdown” pulls you into ‘Copters territory and “Deadbeat Groove” takes you back into Backyard Babies territory – the great stuff they recorded before they discovered Social Distortion and went off the boil.
Last up, the Misfits / Where Eagles Dare intro of “Feel The Darkness” rounds out the best 30 minutes of your day in fine style.. This is the booze, bad decision kind of rock & roll that’s made Scandinavia THE place for all things fast and loud since the dawn of the 21st century (and a fair few years before that).
Hound Gawd! Records announced the new album by The Cutthroat Brothers and Mike Watt on the back of the RSD release that featured Watt and its fair to say I got a little excited. I love myself some Cutthroat Brothers anyway and the added Mike Watt was always a blast. Whilst having a bass guitar on the older tunes was quality it was always going to be interesting to see how that dynamic would work on hearing new tunes and it was a proper buzz and lived up to the hype and standard I’d imagined in my fuzzy head. ‘Devil in Berlin’ is set to drop in record stores in early December but it can’t come quick enough.
Might as well start at the top and ‘Bad Candy Girl’ kicks in like a motherfucker with a bass that’s growling like a Mack truck with no brakes doing 100. but after the sonic boom, it settles into a cool groove and already this record has my attention. The breakdown is like a dust-up at the crossroads and those Bad Candy Girls are twerking with old nick before leaving with these three cats.
Love the tunes as they roll off the record from the swirling grind of ‘Been Away’ Colliding with the jig of the title track that’s splendid with its fuzzed-up bass and finger-clicking goodness. Its like you’ve entered some late night tiki bar thats got harleys out the front and the band kicking out the james are these three reprobates oozing equal parts Gun Club, Stooges, Elvis, The Cramps and just about a dozen other cool as fuck bands from history all spilling out over the grooves of ‘Devil In Berlin’.
To be fair I could go through each track dishing the dirt and drooling over the coolness of this record as the Brothers have really hit their groove and found the missing piece of the jigsaw in Watt who adds that little something extra that the dynamic duo couldn’t quite reach without him. Sure, the tunes would have been good but not this freakin good. ‘Love, Drugs Etc’ has some wicked slide that’s got some cool 70s glam running through it like an unearthed Sweet song played by some punks who found it washed up on a beach in some bottle.
In contrast, the fuzz of ‘Cold Dead Night’ has some Grunge running through it, either via Sonic Youth or a bit of Husker Du with a smidge of Kobain for good measure. The vocals remind me of some Black Francis in his Pixie days. Without a single duff or remotely below par track on offer, this album is excellent as one track detonates the next and the band move through the gears so smoothly from one tempo to the next and tracks like ‘Cherry’ has the band so comfortable and confident they it just sounds so confident like they knew when recording these songs how damn good it was going to be once it was handed over for production. In three years The Cutthroat brothers have served up some fantastic music that has gotten better and better with each record right up to this point and there is no filler just all killer its a close shave as to the best track maybe its the swirling backbeat of ‘Like A Zombie’ that sounds like its being pounded with sledgehammers courtesy of Paychecks drumming as the overdriven fuzz of Watt compliments the licks of Jasons guitar and devilishly cool vocals.
But wait they sign off with a song that’s like the beyond the grave rumble of Lemmy beating up a sonic youth Goo period thumper before menacing its way to the close and the final notes of an extremely exciting and bloody good record. Never mind the King being dead The fuckin’ Devils In Berlin aparently and this is his soundtrack.
BOB VYLAN announces their brand new album ‘Bob Vylan Presents The Price Of Life’, set for release April 22nd through their own Ghost Theatre label – Pre-order the record – HERE
Live wise, the band have just completed a UK tour as main support to Biffy Clyro and start a tour supporting The Offspring this week
London two-piece BOB VYLAN can today announce details of their hugely anticipated forthcoming new album ‘Bob Vylan Presents The Price Of Life’, which is set for release through their own Ghost Theatre record label on April 22nd, 2022.
The record is now available to pre-order, which fans can do – HERE With these pre-orders, with each copy of the Gold or Silver vinyl (limited to 500 each), fans will be entered into a raffle to win either:
– A one-off Bob Vylan action figure made by Mr Cooke Customz + a signed test pressing – 5 separate, signed test pressings & unique signed instax – 10 separate signed instax
Talking a bit about the new single ‘GDP’, vocalist Bobby Vylan explains “This single explores a lot of the topics we’re known for, racism, class, social struggles in a way that may not be so obvious on first listen but when you hear lines about friends being stabbed because they come from a place and live a lifestyle that encourages violence to get what you want, you can’t help but ask yourself “well how did that environment begin?”. The chorus tells you outright, “what good is talking about the GDP if I’m struggling to get by?”
Having been a band for around 4 years, the BOB VYLAN sound is ever evolving and crosses genres and sonic dimensions. They incorporate these multiple styles in their music in an attempt to bridge genres and subcultures together. Bob explains a bit more about the album, it’s themes and ideas for this next phase for BOB VYLAN, “This project is allowing us the space to showcase different sides of our personalities. We don’t want to give the same thing over and over again, so we’re tackling topics in a different way this time. It’s serious and funny, it’s communal and obnoxious, it’s many things at any given time, and it’s a concept project. It explores the idea of paying your way through life and the expense of living in a society that places money above all else. It explores the places we’ve come from and the extremes we’ve seen people go to in order to survive. It also looks at the nuances around money in our society, the less obvious connections, like the world of advertising and art having to align with advertisers values in order to be given a platform, as well as the price of healthy eating, the cost of technology not necessarily on our pockets but on our lives.”
This band are all about community, and for them, their live show is a place where they can really express that. At each show, they start off with mediation and end with a group hug, but what’s between the meditative start and embracing end is a message delivered in a way that both Bobby and Bobbie feel has been missing. Live show wise, they have already been on a sold out UK headline tour (with support from Witch Fever and ZAND) in the summer, played at Reading and Leeds and ALT LDN festivals, been main support to Biffy Cylro through October/November and will be heading off to support The Offspring in arenas across the UK from later this week.
Portuguese-Canadian-Swedish alternative collective Lusitanian Ghosts release their second album full to bursting with ancient sounds for the 21st Century and beyond. Imagine the most beautiful panoramic watercolour of big sky and deep waters ebbing and flowing well this would be the most exquisite soundtrack to such a painting.
Founded in 2015, Lusitanian Ghosts are Neil Leyton, Mikael Lundin (a.k.a. Micke Ghost), João Sousa, Omiri, O Gajo, Abel Beja, Janne Olson and other artists that come and go within the collective. It all began when Neil Leyton brought Micke Ghost a Viola Amarantina in Stockholm when visiting from Lisbon.
An album about life, love, loss and freedom of choice. Single ‘Never Less Than Lonely’ is about the loss of memory… from whichever perspective. Alzheimer’s, or cancer. Losing people slowly, watching them fade away. This the band’s second album ‘Exotic Quixotic’, is released on European Phonographic and is every bit as adventurous as the debut perhaps even more daring and joyful, dark and reflective.
The album was recorded on analogue tape and mixed by Sebastian Muxfeldt(Elbow, Peter Doherty, Teenage Fanclub) at Hamburg’s Clouds Hills Studios, recasts heritage folk violas into rock and roll songs
Lusitanian Ghosts strive for building a better world, Writing and performing songs from and for the heart and the mind. Their compositions mix indie songwriting with traditional Portuguese instruments like the Beiroa, Campaniça, Braguesa, Terceirense and Amarantina guitars (or violas as they are called in Portugal), each with its own string arrangements and tunings.
The bands sound coming from something of a unique place has Neil Leyton steeped in traditional indie Rock and Roll and his love of bands like the Manics and The Dogs D’Amour even, reinventing the style in an almost folk style yet remaining fresh and original is exciting and engaging.
The documentary‘Lusitanian Ghosts: Making Of the Lusitanian Ghosts debut album – Chordophone Rock n Roll’elucidates on why most of these Portuguese ancient instruments (the real Lusitanian Ghosts) have become forgotten over time. For this album, they’ve done away with the guitars, using only chordophones, along with bass and drums. Even the snare was replaced on many tracks with the Adufe, a Portuguese square drum.
“This is all Chordophone violas from Portugal – namely the viola Amarantina, Braguesa, Campaniça and Terceira, played by the Lusitanian Ghosts collective including Canadian-Portuguese artist Neil Leyton, Micke Ghost (the first Swede to play the viola Amarantina!), Vasco Ribeiro Casais aka OMIRI (Portugal), Abel Beja (USA/Portugal, viola Terceira from the Azores), João Sousa on drums (sometimes replacing the snare with the Portuguese square drum Adufe) and Jan-Eric Olson on bass. But not just bass! Janne borrowed O Gajo’s viola Campaniça for some extra dark licks. Chordophone rock n roll, Alt-Folk, Urban-Country-Folk, however it gets labelled what should come across are the humanist messages in these songs,” says Micke Ghost.
Featuring ten tracks from the upbeat opener of ‘Soul Deranium’ its brushes on the snare and some fantastic arrangements and a cacophony of string instruments attacking your senses and reeling you in its intended as a “protest song for the ages” whilst its four minutes of Rock and Roll performed differently it reaching the same end result, daring and adventurous and capturing the spirit perfectly its all there.
‘All The Sounds’ is Leyton at his emotional best as the song builds through the chorus before going back to the start. Then the title track has the soul of the early 70s Bowie or Ronnie Lane penned Faces song but also sounding very modern and original. It’s stirring stuff indeed.
Call it alt-folk or anti-folk – whatever, it’s just Rock and Roll isn’t it? just a different flavour with different instruments. I do know it’s engaging and quite beautiful. A very emotional record that oozes quality and passion both lyrically and musically. One of my favourite songs is the rush that is ‘Living One Life (Just Isn’t Enough These Days)’ it lasts a stunning six-plus minutes with the first half just building on the riff before a word is uttered.
‘Lisbon Calling’ is a European twist of ‘London Calling’ something of a first cousin, maybe played differently but with the same beating heart.
‘For The Wicked’ is dreamy as the snare shuffles Leyton’s hushed tones sound menacing as he rallies against religious or political extremism, populism, or any other kind of anti-humanist behaviour its engaging and as the general vibe of this record its a beautiful thing and thoroughly engaging even if you have no idea what the songs might be about the overall feeling is exceptional beauty and Leyton and Ghost should be so proud of what they have created with this record. I urge you to investigate this album further and I promise you will reap the rewards of what is a stunning collection of songs. An absolute triumph of songwriting and a texture of musicianship that has light and darkness that has to be appreciated for its boldness and a record that is an absolute pleasure to play regardless of one’s emotional state. Take a bow Lusitanian Ghosts for delivering such a stunning record.
‘Exotic Quixotic’ album will be released on November 19 and can be pre-ordered via Bandcamp.
Ryan Hamilton album, released digitally & CD November 26, 2021 on (Stevie Van Zandt’s) Wicked Cool Records
Hamilton’s Americana fuses his Country heritage with alt rock & power pop sensibilities.
The central theme of this latest album is collaboration. Pandemically stripped – for now – of his transatlantic band the Harlequin Ghosts, Hamilton, working with long-time collaborator and producer Dave Draper, has drawn upon a variety of sources here. Including covers of tracks by The Spin Doctors, The Refreshments and Great Yarmouth’s finest – Catherine Wheel, ‘1221’ also offers a brace of previously unrecorded originals by Chuck Prophet and Bob Schneider along with the Hamilton penned singles.
Hamilton has released a track a month during 2021, each hitting the iTunes Americana Top 20. Hamilton has been heralded by Spin magazine as one of the ‘Best Lesser-Known Artists of the Last 35 Years’.
Includes the highly sought-after debut 7” ‘Ghost On The Highway/Sex Beat’ All tracks remastered and issued with original artwork.
52-page booklet with rare photographs, reminisces from Thurston Moore, Mark Lanegan, Henry Rollins, X and extensive liner notes from noted author Clinton Heylin.
Includes exclusive ‘Fire Of Love’ Fanzine, ‘Gun’ Button and Promo Postcard Released by Flood Gallery on 21st January 2022
If ever there was a band seemingly determined to come from nowhere and go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and destroy combo was spawned by the L.A. punk scene in 1979. Two years later their first LP, the incendiary Fire Of Love, was spewed out by Slash Records, a matter of months after the punk zine Pierce wrote for, and the label named itself after breathed its last. Fire Of Love was one of the 80s’ genuinely shape-shifting US debuts, igniting post-punk depth and minting genres including blues, psychobilly, and Americana. Yet before they could fire up the lathe to cut the album master, The Gun Club unleashed a debut 7” ‘Ghost On The Highway’ b/w ‘Sex Beat’, two purgatory-bound hellraisers from the pen of Pierce. Appearing in the UK on the Beggars Banquet label, this single is now entrenched in the collectors’ market commanding a three-figure sum for a mint original. Its inclusion here is worth the price of the Box Set alone. “Ghost on the Highway/Sex Beat’ was the first in a run of fire and brimstone singles The Gun Club released. Seven of their very best 45’s issued between 1981-1993 are brought together on this potent collection including three later day 7”s for the completists. Joining “Ghost On The Highway’ are ‘Fire Of Love’, the ‘Death Party EP’, ‘The Great Divide’, ‘Pastoral Hide & Seek’, ’Cry To Me’ and a ‘Miami Demos’ single, exclusively made for this box set.
Each double-sided single is remastered and reproduced with its original artwork. Inside the Box Set is a high quality 52-page page booklet complete with expert sleeve notes by author Clinton Heylin alongside various contributors, among them Mark Lanegan, Henry Rollins and Thurston Moore. Reproductions of gig posters, tickets, rare photographs and other Gun Club memorabilia are featured throughout. The Box Set is produced in association with the Jeffrey Lee Pierce Estate. Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at the age of 10, he quickly immersed himself firstly in reggae and later the Delta Blues, particularly works by Tommy Johnson & Robert Johnson. By 1976, he had become obsessed with Blondie, going on to become President of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who suggested to the band they cover ‘Hanging On The Telephone’. The Blondie connection would later resurface in 1982 when Chris Stein signed and produced The Gun Club for his Animal Records label. In 1996, after releasing 7 studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away following a stroke. What he left behind is a legacy of work that has had a prolific effect on some of the most distinguished rock acts of the past 20+ years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White Stripes, Mark Lanegan, Primal Scream and The Black Keys.
The Gun Club story would not be complete without mentioning the following personnel who played an integral role in the musical output of the Gun Club: Kid Congo Powers, Terry Graham, Chris D, Rob Ritter, Patricia Robinson, Romi Mori, Ward Dotson, Jim Duckworth, Dee Pop and Nick Sanderson.
The Gun Club ‘Preaching The Blues’ Singles Box Set
Ghost On The Highway (1982) – Ghost On The Highway/Sex Beat
Fire Of Love 1982 – Fire Of Love/Walking With The Beast
Miami Demos (1982) – Carry Home/Brother And Sister
Death Party EP (1983) – The House On Highland Ave./ The Lie/Death Party
The Great Divide (1990) – The Great Divide/Crabdance
Pastoral Hide And Seek (1990) – Pastoral Hide And Seek/Black Hole/Emily’s Changed (Live in Paris, 91)
Written and recorded while the world was still in the grips of the coronavirus pandemic, this new studio album sees the band just keep rolling and making music for the 21st Century as they did on “The Devil You Know” and “The Missing Peace” even if this has some softer lighter edges in the shape of the whistful ‘Get Along’.
Sure their classic rock influences are still in the mix. The heavier songs are present and correct but thats the beauty of an L.A. Guns album you kinda know what you’re going to get but there are subtle surprises within that keep the listener on their toes.
When fans absorb the album as a whole, they’ll see that the tracklisting is divided up into ‘sets’ or ‘suites’, where a sonic style is explored across multiple songs before moving on to the next, making for a longer-lasting listening experience that has certainly kept fans coming back for more (as well as the obvious talents within the line up).
I’ve always been a big fan of Lewis from when he was fronting Girl through Torme and as a solo artist he’s lost none of his talents over the years.
The album kicks off in style with the dirty rock of ‘Canonball’ that harks back to the real spirit of the band and when they first came to the fore. The attack of the two guitars and Lewis’ voice is excellent. then to follow it up with the groove-based boogie of ‘Bad Luck Charm’ then ‘Living Right Now’ that has attitude as well as grooving on a ‘Born To BE Wild’ opening riff its three songs in the intro and three styles that blend really well before the acoustic change of pace that is ‘Get Along’.
Going back to the ‘Sets’ where the album is divided into this laid-back, reflective acoustic section has the excellent ‘If It’s Over Now’ that has a great classic melody going on and Lewis vocals soar before gently getting back into the verse where its more softly spoken. The solo you know is coming and I got the impression of a Randy Rhodes style Ozzy feel and it hits the spot.
There is a solid more gang-like feel to this album and one the band seems altogether more comfortable with. There isn’t any need to just pummel the listener (even though they do at times) they seem more comfortable experimenting and taking different paths with the arrangments and that always makes for a better listen.
Halfway through the album, there’s plenty of grunt on ‘Better Than You’ before the boys get the feet up on the monitors for a DC like stomper in the shape of ‘Knock Me Down’. ‘Dog’ sees Tracii lead the way with a ballsy rocker.
As we head into the home straight the band shift through the gears with the slow-building ‘Let You Down’ that might just be the highlight of the whole album reminding me of the band’s darker classic ‘Hollywood Vampire’. Closing off proceedings with the sludgy, big, let’s get the fuck outta dodge grinding rhythm of ‘Physical Itch’ that closes off another long-player from a band that should rightfully get the respect of its peers for being not survivors but pioneers – a band who kept fighting against the odds and doing it on their own terms and a band that is maturing like a fine wine. Not going through the motions but a band that is going through the emotions – lifting you up and putting you down and if you turn up the speakers they’ll still throw you about. Long may this incarnation of L.A. Guns continue because they have the chops and are still very much capable of cutting the mustard and making really really good albums.
‘Slade In Flame’, the third release in the series, will be released on red and yellow splatter vinyl.
The first release in this beautifully presented re-issues collection ‘Slayed? debuted at #7 in the Official Vinyl Charts and the final release will be ‘Slade Alive!’.Slade’s first soundtrack album and fifth studio album ‘Slade In Flame’, includes the singles ‘Far Far Away’ and ‘How does it Feel’. Originally released on 29th November 1974, the album entered the UK album chart at #6 and it was certified gold by the BPI in February 1975. Slade’s seminal film was hailed as ‘the Citizen Kane of British pop movies” by Mark Kermode, BBC.
‘Slade In Flame’ follows the release of Slade’s third and fourth studio albums ‘Slayed?’, and ‘Old New Borrowed And Blue’. ‘Slayed?’ features ten songs including Number One single, ‘Mama Weer All Crazee Now’ and ‘Gudbuy T’Jane’ which reached Number two in the charts. While ‘Old New Borrowed And Blue’, features the singles ‘My Friend Stan’ and ‘Everyday’ and The Times to retrospectively state: “This is joyous, unshackled and unpretentious stuff that reminds you how they rattled off six No.1’s.”
Pictures By Barry Plummer
Slade are without doubt one of the most exciting bands to come out of Great Britain and were unstoppable throughout the Seventies becoming one of the biggest bands; releasing six smash hits albums, including three UK Number Ones, a run of 17 consecutive Top 20 singles and their hits provided a soundtrack to the Glam Generation. To pre-order ‘Slade In Flame’, go to: https://slade.lnk.to/sladeinflamePRTo order ‘Old New Borrowed And Blue’ go to: https://slade.lnk.to/onbabPR To order ‘Slayed?’ go to: https://slade.lnk.to/slayedPR
Open your mind and just let the music do the talking. That’s how I approached this album of covers from the Skids but it had to meet certain criteria before being considered for inclusion on this album and to be fair, they only bloody well pulled it off!
Veteran punk rock outfit Skids have returned with a powerful new studio album that pays tribute to the band’s hometown venue, the historic Kinema Ballroom in Dunfermline, Scotland. Both a live venue as well as a traditional dance club, the Kinema became a musical and cultural epicenter for the youth in Scotland’s Fife province, especially during the late ‘70s, early ‘80s punk rock movement. It would also become the home venue for Skids who played numerous shows at the Kinema as both a support act for such legendary bands as The Clash as well as the headliners for multiple sold-out events.
Now, Skids take a walk down memory lane, performing songs by the bands who influenced them in those early years. ‘Songs From A Haunted Ballroom’ includes versions of tracks by The Clash, The Adverts, Ultravox, Sex Pistols, and Magazine PLUS new versions of their own early hits “Into The Valley” and “The Saints Are Coming!” so laying themselves open by covering some iconic punk tunes. Let battle commence.
The first single from the album, a supercharged version of Ultravox’s ‘Young Savage’ is an eyebrow-raising moment because it’s both vibrant and has boundless energy. Then it’s one of those peek through your fingers moments as they take on ‘Complete Control’ and again I breathe a sigh of relief because they manage to stay on the right side of the cover version style and don’t do it cabaret style. Capturing a good sound on those guitar crunches that was Jones and Strummers style and Jobson does a convincing job on the vocals. Purists will no doubt be all over this complaining about one thing or another but I think they do a sterling job and pay tribute rather well.
As I relax a bit more it makes sense they do ‘Gary Gilmore’s Eyes’ it’s more Skids style and again it’s really well done. They even manage an energetic take on Rockpiles ‘Heart Of The City’ so its not quite there but to even take on such a top tune deserves some kudos.
What this record does do is send your mind back to what seems like better times when music was pouring out of every nook and cranny of the UK and everyone seemed to be indulging in pop culture in one way or another. I guess they were simpler times with fewer distractions for young people’s time and energy. I just hope Jobson will wear the Glove when they play ‘Rock On’ Live. Cool song and a cool respectful take. One of the best versions here is ‘violence’ (never have too much cowbell), not enough bands sound like Mott The Hoople anymore.
Some of the best tunes here are indeed the lesser-known covers or ones you weren’t expecting ’35mm Dreams’ springs to mind and to be fair the guitar sound captured on ‘Submission’ is most worthy then laying it side by side with ‘New York Groove’ is a great idea and two very different genres collide.
It’s hard to fuck up a cover of Iggys ‘I Wanna Be Your Dog’ such is the majesty of the track and Skids manage to avoid any embarrassment but making it a CD-only track is a little puzzling considering the vinyl revival going on.I guess it seems only fair that the band includes two of their most famous tunes as part of this look back at what made the band sound like they did and ‘Saints Are Coming’ is still a fantastic song as is ‘Into The Valley’ and fond memories of school discos come flooding back. This only leaves the final track which again is a CD-only affair with Vinyl lovers. ‘Christmas In Fyfe’ is their very Scottish affair and maybe one vinyl lovers won’t mind being omitted but don’t let that distract you from what is a really good album. On the back of the acoustic record which again I really enjoyed this will also nestle in nicely in my collection – Check it out and remember your own memories of when new bands and sounds were hitting your ears on a daily basis. Ah, the memories thanks skids this was a real tonic!
The first new album in 20 years is finally here. Those fine people at Dead Beat Records made it happen. It features guests John Easdale, Rikk Agnew and Paul Roessler. Eleven songs with a veritable Melting pot of styles is what’s on offer, so turn up the stereo, sit back pour a cold one and lets go.
‘Ain’t It Summer’ sounds like Cheap Trick and the first thing that stands out apart from Paul Roesslers swirling keys are the layers and layers of harmonies on what is effectively the smash hit of the summer that never happened. it really is like a cool summer evening with the saxophone blasting out in the distance but not quite what I was expecting but ‘Fast Fucked & Furious’ is the rocket ride I was expecting. Maybe they fucked up the running order I dunno. Mayers vocals are as sharp and rockin’ as they ever were as he takes this sucker home but not before the guitars get set to melt their fretboards on the solo and from there on in the song is out of control.
Chillin’ or kicking back slightly ‘Bad Vacation’ has got a great hook with the riff and vocals working in tandem on the verse and when the sax joins in I’m sold – I love that setup and this is turning out to be a great tune. ‘We Are The Ones (We’ve Been Waiting For)’ is like a rouged up slice of power pop with the opening riff sounding like Neil Young and Crazy Horse jamming on a Wildhearts track. Seriously it’s got those ingredients in the DNA.
We have some Rikk Agnew going on on ‘The Rejected’ as the boys fire up the Rock and Roll hotrod and take it out for a spin with a cool melody and vocals from Geoff Yeaton as well as his fantastic saxophone. I think when they wrote ‘Rumblin’ Train’ the title kinda wrote itself because the beefed rhythm section is like the sound of a freight train steaming down the track barely in control and its not Casey Jones honking on the rip chord tootin’ as it speeds down the track its a wide-eyed Frank Meyer with the devil’s horns raised high screaming for all he’s worth ably flanked by Duff as he rips out the guitar licks – great stuff.
They turn up the smooth old school classic rock for ‘Let Me Out’ in contrast ‘One More Drink’ is a punk rockin’ power poppin’ drop of nectar from the Gods of Rock and Roll. It’s the more you play the better it gets kinda record. Stick with it kids and the rewards start to filter through one by one. You can stomp your feet to ‘Warzone’ which might well be the weakest track on offer here but it has some sparkling guitar licks and saxophone honkin’ which saves the cliches that otherwise might have gotten overwhelming. The record is closed off with ‘Switchblade Knights’ where they introduce some proper Ian McLagan boogie piano for good measure and sign off a bloody decent record.
In places, it soars like a phoenix from the ashes of what they used to be. It never drops below an excellent record and when it does veer into a little cliched territory its got a saving grace that gives the song a free pass be it the vocal, a guitar break or saxophone honk – The world is a better place with bands like the Streetwalkin’ Cheetahs in it releasing records and making a worthwhile noise. Now do yourself a favour and go get it because when they’re gone you’ll regret it but I hope it isn’t another couple of decades until the next one.
Recent Comments