Demolition 23 – ‘Demolition 23’ (Wicked Cool Records)

Demolition 23 – ‘Demolition 23’ (Wicked Cool Records)

1994 was a very good year for music. Everything was a bit edgy back then. Alternative was king, Grunge had killed hair metal and in turn was dying a death. Nu Metal and Industrial sounds were on the rise with Korn and NIN, Green Day and Rancid were spearheading a punk movement for the MTV generation and over in the UK Oasis were making waves, while The Wildhearts and Terrorvison were regularly seen bouncing around on Top Of The Pops.

Bands had to adapt to survive and those that did survive released arguably the best albums of their careers. From Manic Street Preachers and King’s X to Motley Crue and Warrior Soul, all with varying degrees of success but all had one thing in common and that is: those albums stand the test of time nearly 30 years on. And of course, Michael Monroe was in that mix as well with a band called Demolition 23.

Following the ill-fated Jerusalem Slim project with Steve Stevens, Michael Monroe went back to his roots, collaborated with Little Steven and wrote a punk rock album in the spirit of ‘77. Pulling in Hanoi Rocks bassist Sami Yaffa, Star Star guitar slinger Jay Hening and session drummer Jimmy Clarke, what started as a covers band jamming with friends, turned into a serious project.

Recorded in 5 days at Power Station Studios in New York City, produced and largely written by Little Steven along with Monroe and his first wife Jude Wilder, the eponymous 10 track album was a throwback to the Hanoi days and a tribute in spirit to lost friends and heroes such as Stiv Bators, Johnny Thunders and Charlie Harper.

To be honest, the production job back then was pretty spot on and you would have to play the original back-to-back with the remaster to spot the differences. But I’m pleased to say it sounds as crisp, fresh and damn right essential as it did back in 1994.

I always loved Monroe’s thought-provoking lyrics and album opener ‘Nothin’s Alright’ has always been a favourite. From the roaring, 3 chord riffage to the cool lyricism, each verse a love letter to the past 3 decades (at the time), it channeled the much-needed gap between the Sex Pistols raw energy and Hanoi’s penchant for a catchy tune.

The following ‘Hammersmith Palais’ again, is a retrospective look to times and places that are long gone. A theme that has continued through Monroe’s lyrics to this day. A punked up blast with an anthemic “oi-oi” chorus that is an instant earworm. It’s about as British punk as you can get, which is quite a thing considering its Finnish/USA writing heritage! 

A killer one-two as good as any album before it, and a pair of songs that remain constants in Michael Monroe’s live set to this day. Demolition 23 sound energized, fresh and vital in 2022.

As Demolition 23 was initially a covers band, it makes sense that a few of those tunes they jammed would feature. The Dead Boys ‘Ain’t Nothin’ To Do’ and UK Subs ‘Endangered Species’ are suitably raucous and filled with attitude. But its Johnny Thunders ramshackle ‘I Wanna Be Loved’ that blows the cobwebs off, even by today’s standards. Hening’s guitar tone is perfection and the vocal delivery has enough spit and venom to better the original. It’s a glorious blast that the band make their own.

‘Scum Lives On’ was originally on the Jerusalem Slim album. The Demolition 23 version is rawer and more in tune with the punk attitude. Even the dumb ass, tongue in cheek ‘Same Shit, Different Day’ sounds vital.

The emotive ‘You Crucified Me’ showcases the Van Zandt/Monroe ability to pen radio-friendly hit singles, and you probably forgot how good it was until you listen to this remaster. It sounds like it was recorded last week, not a lifetime ago.

The included demos of ‘Hammersmith Palais’, ‘Dysfunctional’ and ‘Scum Lives On’ are curiosos and don’t vary too much from the originals, but surely must be a testament to the fact that these 10 songs were the full recorded legacy of one of the greatest forgotten bands of the 90’s.

Of course, good things never last. Hening was replaced by Nasty Suicide on guitar by the time they started touring, but he left in March 1995 and the band folded soon after. Hening tragically passed away not long after and while Sami continues to play in Michael Monroe’s solo band, as far as I am aware Demolition 23 have only reformed once for Monroe’s 60th birthday bash in Helsinki recently.

With only a limited release in 1994 on CD, this is an album that has been crying out for the vinyl remaster treatment for years. It remains a lost classic and hopefully, this remaster will give it the distribution and worldwide regard that this long-lost classic album truly deserves. An essential purchase folks.

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Author: Ben Hughes

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COCKNEY REJECTS ANNOUNCE NEW ALBUM ‘POWER GRAB’ TO BE RELEASED OCTOBER 28TH VIA CADIZ MUSIC

COCKNEY REJECTS ANNOUNCE NEW ALBUM ‘POWER GRAB’ TO BE RELEASED OCTOBER 28TH VIA CADIZ MUSIC

Power Grab is the ninth studio album from terrace rock legends the Cockney Rejects. Pre Order Here Bosh!

Having created the ‘Street punk’ phenomenon with their EMI released debut album ‘Greatest Hits Volume One’ in 1979 and its eponymous follow up, ‘Greatest Hits Volume Two’ in 1980, the band shifted direction to their preferred hard rock leanings with the Pete Way produced ‘The Wild Ones’ in 1982, to much critical acclaim. After the ‘Lethal’ album in 1990 the band called it a day, exhausted by the ‘Hooligan Rock’ accusations and the lack of live work. In 1999 they enlisted new bass player Tony ‘Van’ Frater and drummer Andrew Laing, and now a touring tour de force they played to ecstatic audiences all over the world and released several albums right until Tony’s untimely death in 2015.

After much soul searching, the band recruited former bass player Vinny Riordan (from the band’s classic first line-up) and powerhouse drummer Joe Perry Sansome (from Reigning Days) and the boys hit the road again, to even more rabid response than before. Then came covid, and like many thousands of bands the world over, they reluctantly had to down tools. Never a band to rest on their laurels, Mick and Jeff began to write, and the band spent long weekends in the studio with producer Kevin Poree creating their finest, and possibly last, studio album, ‘Power Grab.’

And what an album it is. It’s the culmination of 43 years on the road and in the studio (“it’s a microcosm of everything we have learned and loved since 1979,” says guitarist Mick Geggus) resulting in the most cohesive work they have ever done. From their fledgling Punk days to their Rock heyday, it’s all here; the hooks, heartfelt lyrics, searing guitar work and thunderous rhythm section, all in one package. From the gentle, acoustic intro to the blistering Punk snarl of the opener, ‘We were never bothered’ through the mighty title track, to the closer ‘MUG’, there isn’t any filler here- in fact the band jettisoned some six songs to make this collection the most vibrant and vital thing they have ever created.

“It’s 40+ years rolled into one. It’s the culmination of evolution. Everything is on this album” states drummer Joe Sansome.

At the end of 2023 the Cockney Rejects will be retiring from the touring scene. They will leave behind a legacy matched by very few of their contemporaries. Catch them while you still can. And listen to ‘Power Grab’- It’s what Rock ‘N ’Roll SHOULD sound like. The caged beast. And something so alive it hurts. If this indeed is going to be their swansong, they couldn’t go out on a bigger high.

Find the Cockney Rejects Here Bosh!

Skid Row – ‘The Gangs All Here’ (Absolute Records)

Skid Row – ‘The Gangs All Here’ (Absolute Records)

We all know about Skid Row’s past. I’m not going over old roads that’s been run over a million times because there are way too many potholes to avoid. All we need to focus on is the fact that Skid Row have put out their strongest album since the Slave to the Grind days. New vocalist Erik Gronwall has stamped himself all over the album and this means that there is a huge step up in quality. I really can’t emphasise enough how good he is.

This new opus is called The Gang’s All Here and the album cover with the five band members sporting matching stars and stripes leather jackets, shows a united front (well, back actually) and it really feels that Skid Row will at last lose the Sebastian Bach shaped shadow that has loomed over them for so long. The current line up of Dave Sabo, Rachel Bolan, Scotti Hill, Gronwall, and drummer Rob Hammersmith really are a juggernaut of classic metal. The album really gels as a whole and the crystal-clear production from Nick Raskulinecz ensures that the songs leap from the speakers with a newfound energy that the other incarnations of Skid Row have struggled to achieve.

The album opens with Hell or Highwater, it’s a perfect introduction with ex H.E.A.T. man Gronwall spitting out the lyrics and hitting some incredible high notes. The band really seem to have a new lease of life, there are crunchy, heavy riffs everywhere with more hooks than Leatherface’s butchering room. The title track gives a cheeky nod to Tricky Little Vicky who first appeared in the band’s 1989 song Rattlesnake Shake. Not Dead Yet is an up-tempo affair with another ear worm of a chorus, the band sound like they are having the time of their lives here, a real highlight of the album. I can imagine beaming smiles all round during the recording process.

Time Bomb is a down tuned monster with an absolute beast of a riff that Iommi would be proud of. Resurrected sounds like a band that have been just that. They really have been born again with this line up, strong songs, superb performances, and a real throwback to when the band were at their best. Nowhere Fast is another barnstormer with some great guitar work from Sabo and Hill. The album closes with World on Fire which is no doubt a hint to the last few years we have all experienced, as well as the environmental disasters that seem to be more and more frequent.

I really think that this incarnation of the band will be the most successful since the Bach heydays. Miss this album at your peril. The band are touring the UK and Europe from Oct 19th and judging by a few YouTube punters videos that I checked out before sitting down to review this album, they will be a force to be reckoned with live.

Sebastian who?

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Author: Kenny Kendrick

Kid Kapichi – ‘Here’s What You Could Have Won’ (Spinefarm Records)

Kid Kapichi – ‘Here’s What You Could Have Won’ (Spinefarm Records)

A subtle variation on the title of this sophomore release from Hastings four-piece Kid Kapichi (made up of Ben Beetham on guitars, vocals, Eddie Lewis on bass, George Macdonald on drums and Jack Wilson on vocals, guitars) will already be known by some of us of a certain age as the catchphrase from an 80s gameshow called Bullseye. Said gameshow would end with the pair reaching the show’s finale asked if they would like to keep the prizes they had already won or risk it all on a six dart 101 or more shit or bust scenario, for a super, (smashing, great,) star prize that would only be revealed once the outcome of the challenge was known.  As you can probably guess (if you’ve never actually seen the show) said catchphrase was uttered more than it wasn’t and as such it left the failing contestants open to humiliation by TV as they saw their dream of a new car, caravan or new kitchen hauled off in front of their tear-filled eyes. Not unlike maybe, a few of those who voted Tory at the last UK general election must now be feeling.

Yes, I just mentioned politics folks, so if you prefer your music devoid of conscience you best look away now.

I actually first heard Kid Kapichi at the start of 2022 via the single and lead track here ‘New England’, largely because it features a mid-song rap tirade from the highly respected Bob Vylan, and after that opening blow to the senses, I was well and truly hooked and couldn’t wait to hear the full album. Bouncing in like a ‘We Care A Lot’ for the 2020s ‘New England’ is indeed a righteous sound. Punk as fuck yet not in your normally gnarly guitar driven sense. Nah, this bad boy swaggers around full of electro rap attitude and dares to tell those who campaigned for Britain to leave the EU what they have actually achieved. I’ll leave the rest for you to figure out.

After this explosive opener the remaining ten tracks that make up the album could have actually  been something of an anti-climax, but fear not folks, its only when the almost Oasis-like ‘Party At Number 10’ (an acoustic ode to the Partygate farce that basically saw the UK government laughing in the face of the entire country) pops up at track five that you actually get to draw breath, as the likes of ‘I.N.V.U’, ‘5 Days On (2 Days Off), ‘Rob The Supermarket’ and the immense ‘Super Soaker’ are all fist in the air anthems, delivered in vicious bite sized chunks of hook laden electro-beat punk.

‘Cops & Robbers’, which crops up mid album is perhaps my favourite track here, fusing the spirit of Tone Loc with the dancefloor anarchy of The Prodigy, it actually also reminds me of The Howling the band Towers Of London guitarist Rev formed after he left them and then guested on guitar with the twisted firestarters. 

It’s not all-party anthems though as the once again Oasis-like ‘Never Really Had You’ proves and if it were 1997 this track would have been instantly labelled Britpop rather than simply a top tune, and hats exactly what ‘Here’s What You Could Have Won’ is jam packed full of, as the closing one-two suckerpunch of the heavy as hell ‘Smash The Gaff’ and the ballad about working class poverty and its impact on mental health ‘Special’ (a song which has flashes of the 60s psych pop-end of early Blur) prove.

Expertly produced by Dom Craik from Nothing But Thieves ‘Here’s What You Could Have Won’ is indeed the musical equivalent of the 101 in six darts being hit during an episode of Bullseye. A middle finger to the establishment that so wants us all to fail, and a wakeup call for a music scene seemingly devoid of soul.

So, save up all your bus fare home and snap up a copy of ‘Here’s What You Could Have Won’ NOW!

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Author: Johnny Hayward

Tony Wright – ‘The Anti-Album’ (Graphite Records)

Tony Wright – ‘The Anti-Album’ (Graphite Records)

Usually seen bouncing around on stages singing about whales & dolphins and the benefits of tequila, Terrorvision frontman Tony Wright travels a much more melancholy path when it comes to his solo albums. With Terrorvision being a part time concern these days and his printing studio/coffee shop Bloomfield Square in Otley keeping him busy, Tony still finds time to record solos albums and tour acoustically with his faithful sidekick/Terrorvision keyboard player Milly Evans.

Following his 2014 debut solo album ‘Thoughts n’ All’ and the follow up 2016 album ‘Walnut Dash’, Tony releases a third solo album, written during lockdown, entitled ‘The Anti-Album’ that sees the singer take a more honest and darker approach following being locked up with just a guitar, a bunch of songs and nowhere to go.

‘The Anti-Album’ is a lo-fi, stripped back and largely acoustic affair that sees the singer questioning life, love and faith. Musically it sees Tony explore the Country & West Yorkshire vibes that were prevalent on the ‘Grand Ole Otley’ covers album he did with Texan singer/songwriter Ryan Hamilton a few years back.

Over the ten tracks on offer there is a sense of reflective melancholia, more than a few home truths and a need to escape the harsh realities of life. Album opener ‘Sleep’ seems to say it all. With a simple bass drum beat and an acoustic riff that hints at the MASH theme ‘Suicide Is Painless’, all Tony wants is to turn off the lights and sleep all his troubles away.

Next, we have a pair of tracks that exude spaghetti western vibes, aching desolation and soul searching. ‘Nothing To Write Home About’ is a tale of unremarkable small-town existence. Love, heartbreak and divorce is a familiar tale to most, yet here in this context it completely enraptures the listener. The following ‘Get It Wrong’ creates a dramatic and desolate mood with its country twang and heartfelt passionate vocal delivery. It sees the singer questioning his ability to tame that old beast we call love. It builds nicely over a stripped back sound that creates an expansive, almost cinematic vibe. Stunning stuff indeed.

Of the three singles released so far, ‘Dreaming I’m In Love’ is the stand out for me. Tyla-esque heartfelt balladry at its best. With heart on sleeve, Tony delivers a tune that proves one man armed with just an acoustic guitar, 3 chords and a head full of passionate lyrics can be as powerful as a whole orchestra on a big stage. Beautiful and emotive goodness that will bring a tear to the eye.

‘Buried You Deeper’ with its intertwining guitars and harmony vocals is a stand out cut also. While the quirkier ‘Cannonball’ showcases Tony’s honesty and Yorkshire humour, tackling a tale of despondency and despair. “Nothing going for me, shit hair…shit teeth” he sings during a tale of dreaming big dreams.

Tony Wright is an artist who has spent some time soul searching and now seems to have found his identity as a singer/songwriter. ‘The Anti-Album’ is a collection of songs that showcase the wit, sadness and irrefutable charm of this Northern soul. A dark, rootsy record that is a stark and honest look at life and could not be further from the care-free, party tunes that Terrorvision are best known for. Yet it is just as essential as their finest records.

‘The Anti-Album’ is available on vinyl and CD and a 17-date tour to promote the album will wrap up with a hometown show at Nightrain in Bradford on November 6th.

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Author: Ben Hughes

Lorne Behrman – ‘A Little Midnight’ (Spaghetty Town Records)

Lorne Behrman – ‘A Little Midnight’ (Spaghetty Town Records)

Take a bite of some dirty and catchy rock n’ roll scrapped off of the streets of the Bowery, images come rushing through of Richard Hell and the Voidoids and a whole assortment of legendry names who paved the way for others to absorb and follow dishing up their own tasty treats.

Songs about life, love, loss booze, women what you’ve had and what you want Lorne Behrman has been there and done that and now he’s released his own record stuffed full of rock n roll. Lets take a trip.

LORNE, previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things, This long player follows LORNE’s acclaimed 2021 four-song EP ‘When I Hit The Floor’,

‘A LITTLE MIDNIGHT’ reaks of Noo Yawk cool from the album’s opener through the cocksure strut of ‘Harlem River Serenade’ with its johnny B Goode licks and Lou style narrated vocals on the verse its a real earworm that has you craving more and more.

The story-like delivery of the lyrics is cool and none more so than ‘I Can Burn You Down’ that draws Soprano-like imagery of Lorne driving by the Hudson with a thumping from the trunk of his Cadillac with some nasty punk rock tunes bursting out of the stereo. The bass rumble laying down the groove on top of the solid drum beat it’s a top tune.

‘Monday Morning’ has a keyboard wheeze as the beat skips on with some excellent power pop storytelling its a burst of carefree rock n roll like a throwback to when Rod the mod was Atlantic Crossing but if Lou Reed was doing the vocals. As we reach the midpoint the mood drops to a crawl as the smokey ‘Well, I Can’t Hold You’ punches through as the backing vocals punch you in the guts on this slow burner – a fantastic change of gears and another side of the same coin is flipped.

As we head into side two ‘A Little Midnight’ has us back on the Rock n roll it’s like a slab of dark pop with a underpayed melody right up to the guitar solo and we drop back into the chorus and everything’s ok its hustling and just getting by with a heap of cool and not a single fuck given.

‘You won’t Live In The Past’ is a ballad that got some excellent arranging from the liquid shape-shifting guitar soloing to the hushed vocals and the cool BV’s taking you away to some dreamy place from the past. The record takes a more laid-back approach for a few tunes taking me back to some Green On Red comparisons especially on ‘Black Cars’ which is an epic smoldering journey that paints some great images with the lyrics that worked really well with the whole feel of the song. The album then closes out on a dreamy laid back ‘Further On Down The Road’ I get the same vibes when I heard Lou Reeds ‘New York’ album a great way to end a really enjoyable walk on the wild side where the soundtrack is provided by Lorne Behrman and his pocketbook of Rock n Roll stories. My advice would be to pick this up and enjoy it because songs of redemption and reclamation might be personal, but the messages in Rock n Roll are for everyone and its a universal language we can all understand and appreciate and this is a fantastic soundtrack to help you further on down that rocky road.

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Author: Dom Daley

Starcrawler – ‘She Said’ (Big Machine Records)

Starcrawler – ‘She Said’ (Big Machine Records)

Album number 3 for LA garage rock darlings Starcrawler sees the band broaden their musical horizons and aim to break away from the feral punk rock that they are best known for. ‘She Said’ is Starcrawler’s lockdown album and sees the band going through some major changes. The addition of Bill Cash on guitar/pedal steel now makes the band a five-piece, a major label deal with Big Machine and a big-name producer in Tyler Bates is as much a statement of intent as the opening track and first single ‘Roadkill’.

With 10 songs delivered in just over 30 minutes, ‘She Said’ does not seem that much of a departure really, but sonically and songwriting-wise it definitely is. Then there are the videos. Produced by Gilbert Trejo and featuring cameos from Steve O and Danny Trejo, it seems Starcrawler have pulled out all the stops. Hey, I’m sold, not only do they sound good but they look good too! With the pink/black imagery they have going on and a singer with the best hair since Michael Monroe in his Hanoi Rocks days,  Starcrawler are the poster band for the younger generation.

Live, it’s definitely Singer Arrow De Wilde and guitarist Henri Cash who steal the show but let’s not forget that in the songwriting department bassist Tim Franco is credited with the duo in every song.

So, to the music. With urgent beats and a wall of guitars ‘Roadkill’ explodes from the speakers. If there was ever a song designed to deliver a statement of intent, then this was it! A chorus that wraps around your brain like a viper waiting to strike, it will not leave your head intact. Arrow’s lazy, dreamy vocals, Henri’s backing vocals, and the relentless stabbing feel of the tune pummeling with every beat. 2 minutes and 22 seconds of punk rock energy.

The radio-friendly title track follows. It has that grunge quiet/loud/quiet format and sounds more like Hole than Courtney Love has in 20 years. It helps that the songwriting is first class and they have the coolest middle eight I’ve heard this year. De Wilde’s nonchalant vocal delivery and Cash’s wailing licks are a match made in heaven. One of the standout tracks of the album for sure.

A killer one-two is always a great way to start an album, but there is the risk of shooting your musical load prematurely. ‘Stranded’ is ok with a so-so chorus that does grow with repeated listens, and ‘Thursday’ continues with spikey, new wave vibes, but ultimately falls short.

Then we get to the point where Starcrawler have really excelled themselves and broken the mold. ‘Broken Angels’ is a cinematic affair, with strings, killer beats, and a melody to die for. It exudes romanticism and LA cool chic, in the same way, ‘Hollywood Ending’ did, but here they do it better.

With its effect-ridden guitars and 80’s alternative stylings, ‘Jetblack’ comes on like The Pretenders meets Duran Duran, sideswiped with early Hanoi Rocks, a sound I can’t really fault. Again, in the likes of ‘Midnight’ Arrow’s delivery has this dreamy, new wave quality to it that sits well.

The pop-punk of ‘Runaway’ is fantastic, and the sort of thing Starcrawler excel at. High energy, catchy, and pumping. De Wilde’s dreamy, yet powerful vocal rules the show and it has definite Ramones/Runaways vibes. I must note there is an acoustic version of this on YouTube of the band performing on a canal boat which is just as good but creates a completely different vibe.

Which leads us to the countrified album closer ‘Better Place’. It sees De Wilde and Cash share lead vocals over acoustics and pedal steel guitars. The juxtaposition of the male/female vocals works well, and the dreamy, emotive vibes created bode well. If this is the direction Starcrawler finds themselves heading in the future, then I’d be happy with that.

With a fistful of potential hit singles and the coolest album cover of the year, Starcrawler are definitely making a statement with ‘She Said’. While it’s certainly their best, most cohesive album to date, it still feels like a band who have more to give and are still finding their true direction. The fact that it has 3 of my favourite songs of the year and their recent live show was one of my highlights makes Starcrawler one of the most exciting bands of the year for me.

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Author: Ben Hughes

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‘DANSE MACABRE’ – Celtic Frost pre sales

‘DANSE MACABRE’ – Celtic Frost pre sales

SUPER DELUXE BOX-SET

OF THE COMPLETE RECORDINGS : 1984 -1987

TO BE RELEASED ON 28th OCT IN UK/EU AND 25TH NOV IN USA/CA VIA BMG

The pre-order link for the boxset is here

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

‘Danse Macabre’ captures the radical ambition and evolution of Celtic Frost from 1984 through to 1987. In addition to the albums ‘Morbid Tales’, ‘To Mega Therion’ and ‘Into The Pandemonium’, the 7 marble colour vinyl box set also includes the ‘Emperor’s Return’, ‘Tragic Serenades’ and ‘I Won’t Dance’ EPs, along with ‘The Collectors Celtic Frost’ 12”, a 7” of ‘Visual Aggression’ and a cassette of rehearsals recorded at the band’s Grave Hill Bunker. A 12” x 12”, 40 page book, brings together photography – some previously unseen – from the era and brand new interviews with Tom Gabriel Warrior and Reed St Mark. A Heptagram USB drive contains MP3 audio of all the albums, including bonus tracks. A Danse Macabre woven patch, a double sided poster, and a Necromaniac Union fan club enamel badge complete the set. ‘Danse Macabre’ is also available as a 5 CD box set, with 40 page book, badge, poster and patch.

A very limited edition Glow In The Dark vinyl variant edition of the LP box set will be available via EMP and Nuclear Blast online. This is limited to 1000 units.

Jesse Malin – ‘Glitter In The Gutter’ (Wicked Cool Records)

Jesse Malin – ‘Glitter In The Gutter’ (Wicked Cool Records)

This is a remastered reissue of Jesse Malin’s third album, ‘Glitter in the Gutter’, originally released in 2007 on Green Day’s Adeline Records and then released on One Little Indian Records pressed on 200g vinyl.  The album has been unavailable for years and has never appeared digitally until now.  The album features Bruce Springsteen, Ryan Adams, Jakob Dylan, and more on various tracks.  It also includes a bonus track, ‘The Angel To The Slave,’ which has never been released.  In the words of Jesse Malin, “I am really happy to have it out there in the world again.”

Glitter didn’t have the wham bang factor of Malin’s debut nor the intrigue of its follow up and whilst people historically referred to the difficult second album I’d go for the third being the difficult one if an artist is lucky enough to make it to a third. Jesse brings out some big-hitting guests on this record to help pique some interest (not in a negative way) like the obvious inclusion of having the Boss in to sing on ‘Broken Radio’ even if Malin alluded to at a recent show he never bigged up the inclusion of Springsteen and didn’t really push it which on reflection was/is strange and more than humble. Now it’s not only included it’s been musically re-recorded for the new release.

It blows my mind that this album came out in 2007 it seems way more recent than that and the songs still sound fresh as Malin leaves behind the punk rock of D Gen way further back in that rearview mirror even if at the core of his solo work is a throbbing punk rock work ethic and core songwriting style. from the off his Noo Yawk vocal style shines through on ‘Don’t Let Them Take You Down’ and the rocker that is ‘In The Modern World’ still gives me a buzz in his live set.

People wondering why they should pick this up on Wicked cool; I’ll offer the rework of ‘Broken Radio’ for a starter and the bonus track that wasn’t on the original ‘The Angel To The Slave’. To be I loved this album when it came out and I still love it now. Its got an effortless rock n roll heart beating away with a carefree attitude on songs like ‘Lucinda’ and the brilliant ‘Love Streams’ and the melancholic yet stunning version of the Replacements classic ‘Bastards Of Young’ is worth purchasing alone.

Malin has always told a fatastic story and his songs are captivating and Glitter is one of his best examples throughout his whole career. Rotating his bands has kept a freshness throughout each album and when he rocks out he does it with style and panache and the reworked inclusion of ‘The Angel To The Slave’ makes you wonder what else he leaves on the cutting room floor. Signing off with ‘Broken Radion 22’ is a wonderful full stop to a fifteen-year-old record that needs to reach a bigger audience because music this good shouldn’t be exclusive in crowd treat. Jesse Malin is one of America’s gifts that keeps on giving time after time and record upon record. Even if you have this on CD, original vinyl or the one little Indian 200g vinyl audiophile version of this album when is enough ever enough? This album would Glitter anywhere never mind in the gutter. Buy It!

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Author: Dom Daley

Ash – ‘Free All Angels’ (The Echo Label Limited/BMG)

Ash – ‘Free All Angels’ (The Echo Label Limited/BMG)

Free All Angels was the third album from Ash. The album reached No.1 in the UK and has since gone platinum. The punk rock pop album contains the smash hits like the Ivor Novello winning ‘Shining Light’, the NME single of the year ‘Burn Baby Burn’, ‘Sometimes’, ‘There’s A Star’, ‘Candy’ and ‘Walking Barefoot’.

Ash and BMG are proud to reissue Ash’s third LP ‘Free All Angels’ for the first time on vivid yellow and clear splatter vinyl. This album has not been issued since its release over twenty years ago, This new vinyl release on Splatter wax is a welcome addition to anyone’s collection. Its their most rounded and wide appealing release after the youthful exuberance and promise of the magnificent debut ‘1977’ through ‘Nu-Clear Sounds’ to the record they’d been threatening to make in ‘Free All Angels’ I’ve no idea why they reissued the debut and this and didn’t give the same kudos to ‘Nu-Clear Sounds’ but we’re here for the Free All Angels review and what a well-rounded album it is from the magnificent opening of of ‘Walking Barefoot’ was the indication that the band had indeed risen to the next level they weren’t now just writing great catchy alternative songs they were smashing the pop charts with anthems that had mass appeal and how can you argue with an opening trio of hits like ‘Walking Barefoot’, followed by ‘Shining Light’ and then total wipeout with the thumping ‘Burn Baby Burn’ simply magnificent!

They were so confident of their abilities that a song like ‘Candy’ could then follow ‘Burn’ with its strings and grandiose and exuberant backing track Ash were indeed freeing all kinds of Angels. the record moves at warp speed from the strings back to a grungy yet lush melodic song like ‘Cherry Bomb’.

If it’s an album you’ve not played in a while then this is your chance to hit it up and revisit it with fresh ears songs like ‘Pacific Palisades’ and the thumping ‘Sharks’ deserve their new lease of life. Its a rollercoaster of an album with its ups and downs and fast then slow songs – always melodic and always excellent Ash were at the top of their game around this time and making records that obtained a wealth of critical acclaim and deservedly so and its great to see them back on wax and back in the front of the music world shouting from the mountain tops that Ash made great records now go get em and fill those gaps in your collection. If you are new to the band then strap yourself in for an absolute treat. A must-own record no question about it.

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Author: Dom Daley