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

Andy McCoy sets release date for new Album ’21st Century Rocks’

Andy McCoy sets release date for new Album ’21st Century Rocks’

Andy McCoy has set a date for the release of his brand new solo album and sets the time and place for the launch show –  Facebook. The Album titled ’21st Century Rocks’ is coming out on Ainoa Productions and can be pre ordered Here

New Andy McCoy single ‘Seven Seas’ was released on August 15th, 2019 (digital) and full album (CD and digital) September 25th, 2019. Vinyl release later in November. The Tracklist is ’21st Century Rocks’, ‘Undertow’, ‘Seven Seas’, ‘Batteram’, ‘Maria Maria’, ‘Bible And A Gun’, ‘The Hunger’, ‘Give A Minute Steal A Year’, ‘Love It Loud’ and ‘This Is Rock And Roll’.

The Brothers Steve, featuring members of Tsar, Re-form, Release New Album, #1

The Brothers Steve, featuring members of Tsar, Re-form, Release New Album, #1
“Let’s get the superlatives out of the way right off the bat: holy lord is this ever a fab record. Grade: A” – Goldmine
“I keep wondering if I went back through American Bandstand if I could find The Brothers Steve playing on the show in some weird time travel paradox. These songs are packed with hooks, diversity, and instant accessibility.” – RPM
Years ago, in the magical world of Southern California, five young rockers formed a band called The Brothers Steve. They wrote some songs, played some parties, and promptly broke up, leaving their wonderful original songs unheard by all but a handful of lucky party-goers.
Luckily for us, the legend of The Brothers Steve was not over. The band reformed, triumphantly returning to the stage at this year’s International Pop Overthrow Festival in Los Angeles.
They’ve also recorded their classic songs on a fantastic new album (#1), containing 9 hot rockin’ tracks and one acoustic jam, any of which would sound right at home blasting from the radio of a ’66 Cadillac Coup DeVille.
The band has crafted a heady mix of British Invasion, indie rock, bubblegum, and power pop, which singer Jeff Whalen described thusly: “The Brothers Steve to me is like a ‘60s meets ‘90s kind of record. I don’t think the ‘60s thing here was super-intentional. It’s more like when Os and I get together to sing and write, we very often end up in this early-Bee Gees/Association/Nilsson territory.”
The band is Jeff Whalen (vocals, guitar), Os Tyler (vocals), Dylan Champion (vocals, guitar), Jeff Solomon (bass) and Coulter (drums).
Now that these long-dormant songs have been revived, how do The Brother Steve hope to be remembered?
 
Os: Fondly. 
Jeff:  With people’s brains.
“The album will be released in mid-late September. Produced by Luke Tierney, #1 is now available for pre-order on CD.”
Dig what these cool cats are saying:
 
“…the best thing that I’ve heard this year… #1 is the shot in the arm that Guitar Pop needed so badly.” – I Don’t Hear A Single
“The Brothers Steve debut album #1 is a concentrated dose of poprock goodness. This baby is all killer, no filler, beginning to end.” – Poprock Record
“The Brothers Steve have channelled the spirits of The Banana Splits and The Monkees for this airy fun slice of California pie album.” – Full Blast Music
“3 members of Tsar play in The Brothers Steve, but the music of the band is more influenced by Teenage Fanclub, Guided By Voices or The Kinks. The 60s powerpop influences perfectly mix with 90s alternative Brit pop…’ – Veglam
 

TRACK LIST:

Angeline / We Got The Hits / She / Carolanne / C’mon Pappy / Songwriter / Carry Me / Good Deal Of Love / Beat Generation Poet Turned Assassin / Sunlight

Read RPMs Fantastic review HERE
UK/Europe CD Orders from Here
USA and Vinyl Here

"Angeline" by The Brothers Steve

"Angeline." The second video from the debut album by The Brothers Steve—available on vinyl July 27, 2019, at thebrotherssteve.com. #pterodactyl

Posted by The Brothers Steve on Monday, 15 July 2019

Local Drags – Shits Looking Up! (It’s Alive Records / Stardumb Records)

Local Drags – Shits Looking Up! (It’s Alive Records / Stardumb Records)

We love Rock and Roll here at RPM and because you’re reading this I guess its fair to assume you love a bit of Rock and Roll as well. Keep reading fellow Rockers because  by the sounds of it we’re in good company on the evidence of this long-player.  Local Drag clearly loves Rock and Roll as well because they ooze the stuff.

From the opening chords of ‘Can’t Probably Wait’ I have that feeling that I’m listening to greatness and this is a record I’m going to fall head over heels in love with.  Its dirty power pop with some added Replacements and American indie rock (Husker Du)  thrown in for good measure  (I don’t reference those giants lightly either).  The chorus of ‘Pot Holes’ is subtle; maybe understated but fuck me man its killer and I love the harmonic riff and solo on the fade-out, it’s simple but so so effective.  Then to follow it up with some bubblegum riff-a-rama of ‘500 Hours Free’ which has a touch of The Posies with its loud guitar pop crashing through it is excellent and I can’t Ignore the Boys-inspired chord progression.

‘Double Bird’ has some Westerberg at the core of its DNA and that’s always a good thing. Simple acoustic strumming with great double-tracking vocals simple yet so effective.  To follow that with the runaway train of ‘Trash Bones’ with its bluster and melodic crash-bang-wallop this is proving to be a record that’s covered all bases and one I’m gonna be investing a lot of time in over the coming weeks maybe months.  Damn, they even have a tune about beer! fuck it I’m in.

‘Water Wings’ kicks up a shit storm of loud power pop and the penultimate track ‘Metal Gear Winter’ is like Classic Teenage Fanclub and their self-titled album closer ‘Local Drag’ is one of the best songs on an already outstanding record.  Lets not fanny about here I can throw a dozen superlatives about the songs on this record when I could sum all that waffle up by telling you to just get it! Don’t mess about wondering if you should take a chance get an ear full of anything off this record and you’ll be convinced that you’ve made the right choice.  Carry on loving music by buying Local Drags and Shit is definitely looking Up!

Starburst Records 

Author: Dom Daley

The Boys release brand new video for ‘Keep Quiet’

The Boys release brand new video for ‘Keep Quiet’

To celebrate the fifth anniversary of the release of The Boys critically acclaimed 2014 album, ‘Punk Rock Menopause’, the band has released a new promo video for album track ‘Keep Quiet’. 
 
The video was recorded during the band’s September 2018 Italian tour. Unfortunately guitarist Honest John Plain was unable to make the video shoot due to ill health.
 
Casino Steel comments, “It was filmed and directed by Lester Greenowski at the Ligera Club in Milan. Many thanks to Lester and the enthusiastic crowd who made this possible. We had a great time!”
 
Matt Dangerfield agrees and adds, “This is now the sixth track from ‘Punk Rock Menopause’ to be immortalised in video, which I think demonstrates just how strong the album is.”
The band’s five-year distribution deal with Wolverine Records for ‘Punk Rock Menopause’ expires later this month, which means that from now on it will be available to stream/download from Revolution Records. Spotify
The band will be playing a series of live dates in Scandinavia in June & September:
Sat 22 June – Odal Rock Festival
Thurs 12 Sept – Gothenburg
Fri 13 Sept – tbc
Sat 14 Sept – Hova
Fri  20 Sept – tbc
Sat 21 Sept – Trondheim