Michael Monroe Can’t Stop Falling Apart

Michael Monroe Can’t Stop Falling Apart

You can pre-order the new album ‘I Live Too Fast To Die Young’ and assorted goodies from Here. The album comes out on June 10th and is the first new music from the band since 2019 ‘One Man Gang’.

“It’s an ode to our wives and loved ones who have stuck by our sides through years of playing music and touring the world,” offers Monroe on the new single. “But this can also apply to any person working hard, away from home a lot of the time, who is lucky enough to have a loved one sticking by their side through thick and thin. So, it’s a celebratory song to our nearest and dearest who are always there for us.”

“It’s a big, 1970’s Slade-inspired glam stomper,” adds Rich Jones, “It celebrates our loved ones who support us through the ups and downs of being a touring musician”.

Throughout his latest (and greatest) venture I Live Too Fast To Die Young, Monroe tells tales of glory and observed stories, some pretty, some shitty, but all through a lens of eventual optimism, hope and a sense of dirty, cheeky late-night fun. Monroe’s lens has always been directed towards the upside, even after the greatest downs a man can suffer, and the sheer power of his positive energy infuses everything he comes into contact with.

The eleven lean, mean, raw power rock ‘n’ roll songs which make up I Live Too Fast To Die Young see Monroe swagger the streets like a rock-punk poet, a storyteller who’s seen it all from the hellholes of Helsinki to the late-nights in London’s St. Moritz with some trashy times in Tokyo to boot. Warm, funny, occasionally sad but ultimately upbeat, I Live Too Fast To Die Young brings the listener into the heart and soul of its creator.

The title track, ‘I Live Too Fast To Die Young’, is quintessential Monroe, playing with words and concepts in a playfully irreverent way and wrapping it all up in some proper ‘fuck you’ rock ‘n’ roll. A close friend of Monroe’s, Slash from Guns N’ Roses, throws down some lead guitar on the track.

Recorded at Inkfish Studios in Helsinki, Finland between November and December 2021 and produced by the band with engineer Erno Laitinen, the album features Monroe on lead vocals and harmonica, Steve Conte (guitars and vocals), Rich Jones (guitar, vocals), Karl Rockfist (drums) and Sami Yaffa (bass/vocals/guitar). With I Live Too Fast To Die Young, it is clear Michael Monroe is striding into the summer with a triumphant -and perhaps most importantly, defiant- roar to offer you a chance to let your hair down (or up!) and to once again enjoy the freedom of joyous celebration and expression.

The band is due to appear at a string of summer festival shows and will be touring in support of the album on the following dates:

04 Jun – ROCK HARD FESTIVAL, Gelsenkirchen (DE)

06 Jun – K.B. Hallen, Copenhagen (DK)*

9-11 Jun – SAARISTO OPEN AIR, Kaarina (FI)

10 Jun – ROCK IN THE CITY, Kuopio (FI)

11 Jun – SWEDEN ROCK, Sölvesborg (SE)

15 Jun – Dolina Charlotty, Charlotta (PL)*

17 Jun – Stadthalle, Zwickau (DE) *

18 Jun – AZKENA FESTIVAL, Vitoria-Gasteiz (ES)

21 Jun – Mitsubishi Electric Halle, Dusseldorf (DE)*

22 Jun – Jahrhunderthalle, Frankfurt (DE)*

25 Jun – HELLFEST, Clisson (FR)

29 Jun – Ippodromo San Siro, Milan (IT)*

07 Jul – SAUNA OPEN AIR, Tampere (FI)

08 Jul – ROCK IN THE CITY, Oulu (FI)

15 Jul – VAUHTIAJOT, Seinäjoki (FI)

16 Jul – ROCK IN THE CITY, Rovaniemi (FI)

30 Jul – SKOGSROJET FESTIVAL, Rejmyre (SE)

03 Aug – WACKEN OPEN AIR, Wacken (DE)

06 Aug – VAASA FESTIVAL, Vaasa (FI)

27 Aug – HRH Sleaze, Sheffield (UK)

*Supporting Alice Cooper For tickets and more information please visit: http://www.michaelmonroe.com/

Plosivs – ‘Plosivs’ (Swami Records)

Plosivs – ‘Plosivs’ (Swami Records)

Seemingly not content with having already released one of the contenders for albums of the year in 2022 via his superb debut solo effort ‘Ride The Wild Wind’, the astoundingly talented John Reis is back to once again rock the RPM block, this time with the turbocharged ‘Plosivs’, the debut ten tracker from an all new supergroup, featuring singer/guitarist Rob Crow (Pinback), drummer Atom Willard (Against Me!, Rocket From the Crypt) and bassist Jordan Clark (Mrs. Magician) alongside Mr Reis on guitar.

Opener ‘Hit The Breaks’ sets the tone perfectly for what is about to follow over the next 30 odd minutes, and if you are a fan of Reis’s other non-RFTC bands, like Night Marchers, Hot Snakes or The Sultans, then this baby really is going to right up your Strasse. The guitars of Reis and Crow scorch the earth whilst the rhythm section of Clark and Willard send sonic shockwaves through the galaxy, yet it’s the soaring whilst still quite understated and very melodic vocals of Crow that actually first make me sit up and really take notice. There’s a huge slab of early 90s alt rock influence within his vocal tone that honestly had me checking the sleeve notes to make sure Jon Auer hadn’t been working under a pseudonym post the very public (and totally understandable) break-up of The Posies.

The boogie-tastic ‘Rose Waterfall’ is another joyous overload of melody, whilst the almost schizophrenic ‘Thrown Clear’ takes the listener on a rollercoaster ride of time changes and multiple vocal hooks that really shouldn’t work…but boy does it.

‘Never Likely’ is where the aforementioned Posies refence point is perhaps at its closest as it recalls a very special time in my life when ‘Frosting On The Beater’ was indeed perhaps the greatest thing I’d ever heard. 

The record’s lead track (and video) ‘Broken Eyes’ marks the album’s mid-point in a way that made me also recall a time when music that was called “Indie” really was just that, and most all, it was also exhilarating and fresh, whilst the other thing that strikes me about ‘Plosivs’ is that as it progresses it actually gets better and better.

I really don’t want to spoil the delights that wait for you when discovering this record for yourselves, but if you like Cheap Trick played by The Pixies then check out ‘Pines’ or if you just want to hear what a more melodic Hot Snakes might sound like then album closer ‘Bright’ is where you need to direct your attentions.

Everything about ‘Plosivs’ just sounds right, its one of those albums that when you first play it, it all just clicks into place, and thanks to the stellar sonics of Ben Moore (who also worked on Reiss’s ‘‘Ride The Wild Wind’) you also get a record that totally destroys everything in its path.

This really is essential stuff!

Buy Here

Author: Johnny Hayward

Slyder Smith & The Oblivion Kids – Kickstarter Campaign

Slyder Smith & The Oblivion Kids – Kickstarter Campaign

Slyder Smith first swaggered onto the stage in the 90s as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on their own label, Ray Records, & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion.

With over an album’s worth of material written, the band have worked tirelessly in the rehearsal studio, whipping into shape a carefully curated, explosive mix of rock anthems, with a few surprises thrown into the mix. With lyrics that speak from the heart, Slyder has delved deep into his own psyche over lockdown and explored numerous new guitar styles, resulting in what can only be described as his best musical output to date.

The Oblivion Kids are chomping at the bit to head in the studio at the end of March with legendary Producer, Pete Brown (who has worked with George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths & Diamond Head as well as being musical director, vocal arranger & guitarist, in his father’s (Joe Brown) & sister’s (Sam Brown) touring bands & producing Sam’s platinum selling album Stop). 

Having raised the capital required for recording themselves, the band are reaching out to their fans on Kickstarter to help match fund the remaining 50% required to manufacture CDs, Vinyl and other promotional merchandise. In exchange for their support, pledgers can choose from a range of rewards and exclusive experiences.

Support the project on Kickstarter: Here

Brian Setzer – ‘Gotta Have The Rumble’ ( Surfdog/Mascot Label Group)

Brian Setzer – ‘Gotta Have The Rumble’ ( Surfdog/Mascot Label Group)

Right folks get on your blue suede shoes, slick back your hair and grease up your quiff as Brian Setzer is going to rock this town with his guitar twanging new album titled “Gotta have the rumble”.

The first cut is titled “Checkered Flag” and it draws the listener in with a killer groove and has Brian’s signature killer guitar playing all over it.

Next up we have “Smash up on highway one” and Brian is in fine voice and with a hypnotic guitar riff this song is a winner.

“Stack my money” and “The wrong side of the tracks” are pure quality and keep the album flowing along with instant foot tapping anthems.

“Drip Drop” is a slower paced number and has a doo wop feel to it with some stunning female backing vocals and is a truly stunning track.

Up next we have “The cat with 9 wives” and the pace is picked back up with Brian telling us the tale of his 9 wives now this would be too much for the average joe but the rock’n’roll legend that is Brian Setzer is more than cool enough to pull it off.

“Rockabilly Riot” is what it says on the tin. The song is filled with hooks that just don’t lodge in your brain; they smash you over the head and if your leg isn’t shaking along to the rhythm Elvis style then get your pulse checked as you might be dead.

“One bad habit” is another effortlessly cool track dripping with attitude and pure energy.

Closing out the album is the track “ Rockabilly Banjo” and what a way to finish this great album off with a killer chorus that immediately gets the listener singing along and yet again Brian is on top guitar slinger form.

Brian Setzer is a living legend who never fails to deliver quality tunes and “Gotta have the rumble” is an album that from start to finish is up there with his best work and will reward the listener with repeated spins.

Buy Here

Author: Gareth ‘Hotshot’ Hooper

Gilby Clarke – ‘The Gospel Truth’ (Golden Robot Records)

Gilby Clarke – ‘The Gospel Truth’ (Golden Robot Records)

While he will always be known as the guy who replaced Izzy in Guns n’ Roses, Gilby Clarke has always been much more than just the Ronnie Wood to Slash’s Keef. When he left Guns n’ Roses in 1994 he went on to release arguably the best solo album by any member of the band with ‘Pawnshop Guitars’, proving he was always more than just a hired hand.

Gilby went on to release 4 quality solo albums in the late 90’s/early 00’s to much critical acclaim, yet little commercial success. The following years have seen the singer play with Slash’s Snakepit, Heart and MC5, as well as fronting the Rock Star Supernova project.

Now, 20 years after his last solo offering ‘Sawg’, Gilby returns with his new album ‘The Gospel Truth’. It was self-produced, written and laid down at his LA recording studio Redrum Recording, before lockdown was even a thing.

 

The thing I like about a Gilby Clarke album is you know what you are going to get. Let’s be honest here, he ain’t reinventing the wheel with his low-slung rock n’ roll tunes, but he has never claimed to. Gilby is just having fun writing and recording top quality tunes influenced by his heroes, pure and simple.

And the essence of loud guitars and rock n’ roll is evident from the off on the opening title track. With a killer, driving bassline, a cool ramshackle riff and those unmistakable raspy vocals, its low-slung rock n’ roll at its finest, delivered in the same vein as ‘Cure Me… or Kill Me…’ from that classic debut album. The cool female backing vocals add some soul to the rock n’ roll goodness here, which only helps to make a cracking opener.

‘Wayfarer’ follows, probably my current favourite song. Overly cool bass, handclaps and organ take us down a bluesy, well-travelled road. Again, some great backing harmonies that give a west coast vibe, you will keep returning to this one, believe me.

Motley Crue legend Nikki Sixx and Jane’s Addiction drummer Steven Perkins add their respective talents to ‘Tightwad’, a solid enough punky rocker where, funnily enough the bass is not as prominent or as cool as in the opening one-two.

Elsewhere, ‘Violation’ is full of punky attitude and NY garage rock goodness. A New York Dolls kinda riff gives way to honkytonk piano accompaniment to create a backstreet anthem that gets better the more you crank it. Funnily enough, this works just as well with ‘Rock N Roll Is Getting Louder’, where the killer bass groove returns. Add cowbell, a lyrical theme of motorcycles and guitars, then shake it but don’t stir it, and you have an instant classic Gilby track.

 

The warm production is perfect for the laid-back groove of ‘Rusted and Busted’. Again, a slow burner that benefits from repeated plays. Overdriven power chords, handclaps and that unmistakable vocal drawl, blend together in harmony, what’s not to like here? Closer ‘She Won’t Fight Fair’ is a goodtime glam stomper. A cool riff and powerhouse drums drive the song along towards an anthemic chorus with just a hint of Adam and The Ants in the backing vocal department if I’m not mistaken.

 

‘The Gospel Truth’ is a solid return to form from Gilby Clarke. No cover versions, no ballads, just 10 killer, groove heavy rock songs, influenced by the songwriter’s love of English bands like The Faces and The Stones. Sure, it ain’t no ‘Pawnshop Guitars’, but it is a fine collection of effortlessly cool songs, delivered with the fire and passion of a road worn rock n’ roll veteran with nothing to prove and much still to give.

 

Buy Here

Author: Ben Hughes

The Boatsmen – ‘Verses The Boatsmen’ (Ghost Highway Records/Spaghetty Town Records)

The Boatsmen – ‘Verses The Boatsmen’ (Ghost Highway Records/Spaghetty Town Records)

Woah! I wasn’t expecting that.

When the needle dropped and you get that initial feeling as you sit back and relax,  It was less than 20 seconds in and I was gripping the armrests and holding on for dear life as ‘Action Delivery’ handed me my ears ringing on a platter of feedback, wah! and a thunderous rhythm all wrapped in a majestic pop tune with melody and hooks galore.

I had no time to recover because ‘Friday Night Forever’ sent me over the edge.  Punky as fuck but in a HArd rockin’ sort of way, these jolly seamen don’t hold anything back in reserve and you get a shot right across the bow as the volume is relentless and the energy captured in these grooves is infectious, exciting and exactly what the noise doctors ordered.  Never mind ingesting bats full of mutating viruses this is my poison of choice and consumed in large quantities is most advisable to help get you through all the real life tribulations.

 

‘Blame It On Me’ is awesome, like the Hives jamming on some Turbo with an unhealthy amount of punk rock blaring through your ears. It’s like a violent headwind that’s out of control.  Then to serve up a steady dose of DC with added woo hoos! sees ‘The Thirst Song’ boogie and swing like a good un – they must know they’ve written a corker here and it must have been hard to record through such a ten-mile wide grin across their faces. I’m delighted they’ve still got a thirst and raise a glass in celebration of such an exciting record.

 

The Boatsmen have hinted at greatness but narrowly avoided it in the past or held back for one reason or another but now is their moment to shine and like a blazing sun they are right on the button. ‘Saved By Rock’ be fucked, they’ve picked up the flag and are carrying it to the top of the mountain triumphant in the knowledge that the Boatsmen are serving up a one-stop Rockin treat and covering all bases of loud in your face good time rock and roll that is this album.

 

It’s relentless in its quality and tune after tune it’s a twist and turn to emphasise how damn good these songs are. Just don’t get me started on ‘Even The Good Times Were Bad’ it’s like bottled lightning and ‘I Don’t Wanna Lose This Time’ is more restrained in comparison but then they up the ante again with the drinking song ‘When I’m Drunk’.

 

Put the beer down you might spill it as ‘Big Waves’ roll around and it’s a chance for us all to raise another glass and sing along. We get our groove on for ‘Clap Canon’ and some cock-rock and roll with a little tip to the 70’s glam stomp of a T Rex and Sweet. I hope you caught your breath as ‘Take Your Money’ is rapid and like a runaway train speeding toward the buffers without a care in the world.

 

It’s not all hard Rockin and Rollin and party party party.  ‘Better Man’ is a laid back brooding, grinding song that paints a darker atmosphere but no lesser quality, that’s a given and the harmonica is an awesome addition to the texture of the record. The temptation to throw in as many puns or going overboard, seamen and piraty themes is difficult but let’s let the music do the talking because, trust me here me hearties, these tunes are superb as is the whole albums feel, attitude and playing.  The Boatsmen ‘Versus The Boatsmen’ is going to be one of the albums of the year no question about it. so hoist the sails and get out there and purchase a copy because I wouldn’t want you to miss out – land ahoy! me hearties Boatsmen ahead.

 

PREORDER NOW!!
Ghost Highway Records / Spaghetty Town Facebook / Bandcamp

Author: Dom Daley

The Dogmatics – ‘Est 81’ (Rum Bar Records)

The Dogmatics – ‘Est 81’ (Rum Bar Records)

It’s always great to come across an act like the Dogmatics, new to yourself and a complete revelation. With an air of East Coast Replacements about them, with rockabilly elements and enviable songwriting skills. Much like the aforementioned Mats, you come to the conclusion: how have I, or indeed everyone never heard of this group.

This retrospective is a strong compilation for newbies and completists alike of the early 80s’ Boston-based group. Wielding different genre specifics, vocal styles track by track like a guitar-heavy Squeeze in their approach. Opening the record with dance floor friendly New Wave numbers ‘Sister Serena’ and ‘You Say’ (think Plimsouls, the Romantics), moving on to gruffer sounding but still resonating material like ‘MTV OD’ and ‘King-Sized Cigarette’ before to descending into the very “of the time” cowpunk tinged tracks like ‘gimme the shakes’ and ‘Pussy Whipped’.
Further on we enter the completists territory, novelty songs like ‘Hardcore Rules’ and ‘Shithouse’ not likely to win over any new fans, but serve their purpose in a retrospective for those who have been with the band every step of the way.
After this brief trough, the record certainly peaks again in the form of what should be an alternative rock classic ‘Everything Went Bad’, with tinges of Mission Of Burma and even a little bit of Buzzcocks, this one is certainly going to be on the playlists for new converts. Followed through with the melancholic and bitter-sweet “Cry Myself To Sleep”, making you appreciate the good times whilst reminding you of times that you couldn’t possibly envision things improving.
Overall this retrospective is a strong portrait of a band that is walking proof to the more obsessive music fan that the cream does not always rise to the top. Get your hands on this release. You will not regret it.
Buy The Dogmatics Here
Author: Dan Kasm

The Carvels NYC – ‘Live at the Cutting Room’ (Die Laughing Records!)

The Carvels NYC – ‘Live at the Cutting Room’ (Die Laughing Records!)

How about starting your album sounding like Alison Gordys Blonde & Blue jamming the Ramones oh hang on that’s exactly what this sounds like from the wailing saxophone to the Thunders lite sloppy guitar playing to the 50s /60s girl group vocals.  Unashamed and fabulous.  What’s not to like?  It’s down n dirty Garageland rock and roll. Sure this record is totally Influenced by NYC’s original punks (Blondie, Ramones, Heartbreakers), 60s girl groups (The Ronettes, The Shangri-Las), with a drop of Lou Reed & The Velvet Underground’s for the cools – The Carvels NYC have got it going on.

 

The Carvels used producer Freddie Katz, and had it mixed/mastered by Jim Diamond (White Stripes, Jon Spencer Blues Explosion) so they stacked their cards up pretty good before hitting the studio but at least along with all the vital ingredients they remembered the Sax and stuck it front and center.  What’s on offer here is a whole bunch of sloppy Punk n roll old school playing without a care in the world, it’s pop songs with a tonne of melody and parking lot harmonies through the medium of punk rock 77 NYC style and songs like ‘My Little Troll’ is two minutes of fun with some sexy sax wailing in for a solo.  It’s also a bit racey and in a rush like on ‘Lonely Fantasy’ you keep wanting to shout ‘Trash’ because it’s that sleazy Dolls like trashy. It reminds me a bit of bands like the X-Ray Spex as well because they also saw the value of the saxophone is in the mix as a Rock and Roll essential.

They even manage to throw some shade on covid deniers and no maskers with the fantastic ‘Stay The Fuck Home’.  There should be a van rolling around every town in every country blasting this out from a hailer on the roof.  Nail head hit!

I’d put this in the same ballpark as the misfits project 1950 for style as they race through ‘Darling Where Are You’ in all its trashy sleazy splendor – It’s loud – its Rockin’ and it’s fun what else can you ask for in these strange times? There is time to slow things down and ‘Candy Says’ has a certain downtown about itas the band kick back and chill just for a moment.

They remember to throw in some handclaps but not one single bead of a cowbell which is disappointing. Hey, you can’t have everything so I’ll take this just as it is.  Big, loud, trashy, and sweet-sounding punk rock n roll NYC style. Job done.

Stream/buy Live at The Cutting Room HERE

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Author: Dom Daley

Introducing…The Suicide Notes – ‘Pleasures Of Despair’ Electric (Self Released)

Introducing…The Suicide Notes – ‘Pleasures Of Despair’ Electric (Self Released)
Hailing from Oxfordshire and Berkshire, the Suicide Notes ooze gutter-trash rock n’ roll. With low-slung buzzsaw guitars and raw nicotine-soaked vocals, they play rock ‘n’ roll with a swagger.  The illegitimate sons of punk and sleaze, conceived on a bed of red wine, cigarettes, and back-alley attitude, in their ranks they featuring ex-Black Bullets vocalist Billy Tee and signed up with a management company in 2019 like most things it sort of ground to a halt with the Covid-19 Virus but they did manage to sneak out the very popular Acoustic EP before everything was locked down. But they’d already banked the Electric EP and with the UK currently unlocking humans from the pandemic its time for The Suicide Notes to get back to business and let the world know what they have to offer.  
On the evidence of the response after their acoustic EP came out the future looks very bright for The Suicide Notes. that debut acoustic EP sold out its initial limited art digipak edition in under 36 hours through pre-sale orders alone, and demand was such that a second edition had to be produced hence why we’re here now as they follow up February Acoustic with its more fierce alter ego ‘Pleasures Of Despair (Electric)’ but before that let me introduce the Suicide Notes or rather let Billy Tee Introduce The Suicide Notes…
Who are The Suicide Notes? 
The Suicide Notes are Billy T on lead vocals and harmonica, Holmes on lead and rhythm guitar and vocals, Dame on the four-string and sometimes guitar and vocals and Gav is on drums, pizza, and garlic bread. We play tragic rock n roll in a raw carefree and drink idled haphazard style.
How did the band come together?
I ( Billy ) wanted to form a band that reflected my music roots, the red wine stained shuffle of bands like The Faces, The Stones, The Quireboys and The Dogs D’Amour mixed the raw edge of the Izzy Stradlin GnR and the romantic tragi undertones of people like Nikki Sudden, Neil Leyton, The  Decedents and The Suicide Twins. I new Alex played guitar and Alex had played with Dame for years so they were a tuned to each other’s way of playing already. Getting the restless dynamo that is Gavin Hobbs to drum was the perfect final piece in our dirty little ramshackle outfit.
Where are the band from? 
The boys hail from Witney in Oxfordshire and I’m the posh tart from Berkshire
Whats in the name?
Gore Vidal once said, “Write something, even if it’s just a suicide note”.

So we did, we wrote a bunch of Suicide notes disguised as songs. It’s the only way I tend to write. I’ve spent a long time-fighting depressions and mental health issues, all of the band do, mine was brought on by long term substance abuse. I’ve been clean two years but I’m still one step from falling off the wagon, I can bloody taste it still, but things are looking good I’m keeping my head down and concentrating on the music and my art anyway …

 Recordings so far?

We released our first single ‘Smoke It Like A Cigarette’ for our acoustic four-track EP, ‘Pleasures Of Despair’ (Acoustic Demo’s Vol One) then we released the full EP as our debut (like you mentioned already) We then went into the studio and recorded a full almost live electric set.

Post-Pandemic Plans?

We’ve written a bunch of new tracks while in lockdown, Alex and I throwing stuff at each other via the wondernet. The plan is to pretty much start from scratch again, literally, we’d only managed four gigs before the whole ‘shithouse went up in flames’ but we had a solid year of festival appearances booked, so hopefully we can get back on the horse in 2021, record an acoustic E.P vol 2 from the new songs and try and find our feet and hopefully we ( all the bands and promoters and venues ) all find some kind of normal again.

As the bells chime on the dark ‘Black Dog Howlin’ it sleazy alright. it’s right in that pocket of early LA Guns sleaze but without the American polish this is genuine Sleaze with attitude from the rolling dirty riff to the chorus where the gang joins Billy Tee for the call back its good stuff.  A well-timed guitar solo fits right in the pocket as the three minutes fly by which is exactly as it should be.  Not for a second does it outstay it’s welcome and like a donkey punch you know its happened.
No doubt there will always be comparisons with Billy’s vocals and a certain Bard from the Black Country so it would come as no surprise to hear The Suicide Notes taking on ‘On The Rocks’ by The Dogs D’Amours. To be fair there’s no point messing with classic Dogs tunes so whilst it’s pretty much kept intact they do add their own twist on it and to be fair it holds up very well. I like the tone of Alex’s guitar licks its got bite but it isn’t dumb and has a swagger that doesn’t come over like he’s forcing his tone.
Having praised the band for their short sharp attack I did balk a little when I saw ‘Ragdoll’ was in excess of six minutes but once we got past the intro tape I was able to sit back and let the rock and roll flow over me.  sure its got the obvious comparisons but I like the chorus and the breakdown works really well and I’m always a fan of using a saxophone in my sleazy Rock and Roll. great stuff!
To wrap it up the Electric treatment of ‘Smoke It Like A Cigarette’ is really good and works better than the acoustic which was excellent to be fair. So all in all a four-track EP that gets better as the songs unfold.  The band has energy and style and can and will carve out their own niche as people get to hear them and appreciate what real proper sleaze should and could sound like.  Oh, and we need more cowbell – obviously.
Pick it up pronto if you want to get in on the ground floor before these guys climb that greasy totem pole of Rock and Roll and you miss out on the collectible early stuff. Now put on yer silken scarf slide into them boots n skinny jeans and get yerself involved.
Buy the EP Here

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Author: Dom Daley

The Speedways – ‘Radio Sounds’ (Alien Snatch Records, Snap!! Records/Hurrah Musica and Beluga Records)

The Speedways – ‘Radio Sounds’ (Alien Snatch Records, Snap!! Records/Hurrah Musica and Beluga Records)

Is this Power Pop?

A question that is often all caps shouted across screens by keyboard warriors defending their record collection decisions.

Power Pop. A holy grail whose contents are loudly proclaimed obvious (depending who ya ask) and essential.  Apparently sacred (yet neverendingly argued) since the storied days of Peter Case losing his Nerves to then lace up his Plimsouls. Somehow important yet almost impossible to achieve… one wrong move, a drink too far, a chord eschewing a jangle and you’re “just rock n roll”.

Or so it seems…

The Speedways. The members languidly lean on the bars of darkened London pubs or float like spectres in corners of Some Weird Sin and Garageland gigs. Striped shirts and leather jackets. Dirty street-tamed Chucks and scuffed Thunders boots carry them from one late night heartache to another.

They are true believers who take their turn on stage with hearts outshining the Cheap Trick badges.

Heart.

How do you capture it? How do you?

This album is a stellar example of doing just that. It is the emotion, the essence of love (lost and yearned for) that makes special songs, damn the torpedoes and neat classifications.

This is their second full-length album and the growth since ‘Just Another Regular Summer’ is apparent right off the opening track. ‘This Ain’t A Radio Sound’ opens with a playful ‘80’s Cars ‘Heartbeat City’ keyboard that is somehow right at home alongside the dirty street jangle of Mauro Venegas’ guitars. Then Matthew Julian saunters in, his vocals accomplishing a feat in common with that of my favourite singers. It is instantly recognisable. Equal parts world-weary and up to the fight. Like how Phil Lynott would somehow whisper your thoughts back to you. At once like a friend and someone you wish you had the nerve to approach. A very rare and special dichotomy that gains trust from the listener. People will say you’re born with that. I can see here that you can earn it.

‘The Day I Call You Mine’ shakes off the skinny tie and gets tough. And sweet. The rhythm section of Kris Hood and Adrian Alfonso are like a modern day Mike Joyce and Andy Rourke of The Smiths. Taking the gorgeous songcraft and walking it home like schoolyard best friend bodyguards. In fact, every melody and arpeggiated chord on this long-player is kept safe in their scrappy hands.

“Daydreaming’ opens with razor-sharp back alley chords and a streetwise snarl that has me all of a sudden thinking, “Is this ROCK N ROLL???”

Speaking of that… ‘Your Brown Eyes Look So Blue’ comes dangerously close to sounding like a forgotten outtake from the soundtrack to “Grease”. High School dancing itself right to the edge of the parking lot of kitsch to puke, but teetering there and miraculously feeling much better, thank you! It was a close one boys, but then again, some imminent peril makes albums and nights out exciting.

The track order on this album has a great arch to it. The way it builds to a cinematic centrepiece starting from the dreamy fade into focus intro of ‘This Is About A Girl Who Loves The Sun’. It builds wonderfully into widescreen guitar pop. The song takes you off the dusty and noisy summer city streets and into the cinema to catch your breath and “to stop taking it out on yourself” as Matthew reminds you in the lyrics.

The exuberance of ‘Number Seven’ kicks the cinema doors wide open and the sunlight comes streaming through. We’re in The Speedways’ neighbourhood now, and there’s a place they know that’s perfect for an afternoon drink. Matthew puts his arm around you on the walk and lets ya know that you’ll get by… it doesn’t matter who believes you.

Another standout track is the band next door sound of ‘Empty Pages’. Effortlessly cool and just the right riff for just the right lyrics (“On Halloween I couldn’t hide”… who hasn’t felt that way? Vulnerable and surrounded by Pound Shop devils and clowns) The song is the sound of hanging out. Pure and simple.

The whole set does an excellent job of establishing a recognisable sound while crossing gang lines into territories that may feel like defection. The early Petty and almost ‘50s stomp intro of ‘Had Enough This Time’ giving way to a sun shower of cascading guitar shimmer and a riff that steps right off a beach to join in? Really? It works. Really well.

The album closer, the rather magnificently titled ‘In A World Without Love It’s Hard To Stay Young’, is a perfect bookend. A pocket symphony of guitars that shine like the afternoon sun reflected off a Camaro’s dashboard. Its harmonies sonically answer Julian’s proclamation, “I thought I was the only one to feel this way, until…” with the easy embrace of a close pal.

No. You’re not the only one who does, Matthew. You just have a timeless way of expressing it. Your band is right there with you bringing these songs into brilliant focus as well.

Pretty happy that a band like this exists, making albums to this calibre.

It sounds awfully good with a cold one or a double too!

OH! Power Pop?

I ain’t getting’ into that! Whaddya think, I’m crazy?

 

Buy Beluga Records Here / Speedways Bandcamp Vinyl Here

Author: Rich Ragany