Lusitanian Ghosts – ‘Lusitanian Ghosts’ (Lusitanian Music Publishing)

Lusitanian Ghosts – ‘Lusitanian Ghosts’ (Lusitanian Music Publishing)

The self-titled album from Lusitanian Ghosts is a rock ‘n’ roll experience of a different kind. The Deluxe Edition was released late last year and has just made its way to my door. This musical collective features Neil Leyton, who will be well known to many of the readers here, having previously worked with a wide range of rockers from The Dogs D’amour to Ginger. He also, of course, has his own glittering career, which has also seen contributions from rock royalty such as the Backyard Babies. Leyton is a man of many talents, and I personally remember him from the much-missed Changes One record label days, where we used to have the odd chat over email. A lot of time has passed since then and I must admit to having fallen out of the loop for a while. And from what I can gather this is his first full album of original material since 2010’s The Betrayal of the Self. As I have said, however, this is a collective and more than the work of one man – and with it comes an entirely new sound, interestingly making use of traditional chordophone instruments: guitar-like, stringed instruments which also includes the lutes or lyres that we may often see accompanying Shakespeare plays. The group includes Micke Ghost, João Sousa, Omiri, O Gajo, members of Primitive Reason and other artists.

This new Portuguese musical project utilises these instruments in a more modern way, mixing a blend of traditional and rock ‘n’ roll sounds. It’s an inspiring, folk/rock mix which needs to be heard to be understood. The album kicks off with a short acoustic folk affair, with the breezy ‘A Long Time Ago…’, which sets out the attitude of the album before heading into the more rocking ‘The World’. While I’m hesitant to draw a lazy comparison to Santana, this opening of this song certainly bears that resemblance, particularly with the fat, smooth tone of the electric guitar over the acoustic arrangement. The album itself doesn’t bear out the comparison. Being such a creative project, the Lusitanian Ghosts album takes many twists and turns while always maintaining a very singular thread throughout – a constant traditional sound underlying it. The light indie sounds of the flowing ‘Trailer Park Memories’, or the rousing chorus of ‘Past Laurels’ with its singalong of ‘we are the truth to power’, mark for an exciting and thoroughly enjoyable album. While personally other highlights include ‘Godspeed to You’, the Bowie-esque ‘Memories of a Once Familiar Future’ or the great ‘Our Own Light’, there is no filler here, as every song serves to support the next. Interestingly, alongside the album is a release of a documentary which explores the history of these wonderful traditional instruments which are used to craft this most interesting of records. Watching that is the next thing on my to-do list. Meanwhile, listening to this, it is certainly good to have Leyton back recording, and with such strong material.

 

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Author: Craggy Collyde

Rookie – ‘Rookie’ (Bloodshot Records)

Rookie – ‘Rookie’ (Bloodshot Records)

The wealth of artists on the ever-growing roster of Chicago based label Bloodshot Records is something to behold. Over the past 25 years, they have been championing American roots music, the sort of bands that maintain a DIY punk ethic, whether they be country, soul or garage rock based. The likes of Banditos, The Yawpers, Barrence Whitfield And The Savages, as well as Laura Jane Grace and Sarah Shook, have all graced our pages. And their latest release is the debut album from a 6 piece bunch of shaggy haired 20-somethings that wear matching boiler suits and go by the name of Rookie.

 

Rookie are a 6 piece band who formed in 2017 from the ashes of local acts such as Joe Bordenaro And The Late Bloomers and the fantastically titled Yoko And The Oh Nos. They emerged from a grassroots, Midwestern DIY scene, seemingly out of time with their retro ‘cosmic’ country-styled rock ‘n’ roll music. With three guitar player in their ranks and a drummer (Joe Bordenaro) who shares lead vocals with guitarist Max Loebman, they evoke a classic period of American rock ‘n’ roll, seemingly untainted by modern technology or social media.

Opener ‘Hold On Tight’ evokes 70’s rock radio from the opening chords and high registered hollering. Simple rifforama and blistering lead guitar solos give a high energy introduction to a band that seems far more clued in than their years suggest.

The lazy, hazy groove of ‘I Can’t Have You, But I Want You’ is prime Americana as much as Neil Young or The Allman Brothers in their prime. Sweet, full vocal harmonies flow through the chorus as slide guitar takes precedence. Likewise, closing track ‘E Jam’ is an excuse for the guitarists to shine and break out the extended solos like no one’s watching.

One thing’s for sure, Rookie go a long way to remind music fans about the glory of the guitar solo. And I don’t mean the widdly, over-played 80’s rock solo, I mean back when men were men and rock music did just what it said on the tin!

Rookie are the perfect soundtrack to any highway cruise. Just roll the top down, turn the radio up and light the doobie in your hand. Take ‘Fake Grass’ for example. It has an instantly satisfying melody you will swear you know already. A tinkling of the ivories and some gently weeping guitars give an Exile-era Stones feel. A sense of yearning is accomplished by the time they reach the first chorus and all your woes will be forgotten (at least until it finishes). Classic Americana with a Southern rock twist; they come on like The Band meets Skynyrd on a dusty highway, which surely ain’t a bad place to be. Glorious.

They veer into indie pop territory momentarily too. Recent single ‘Sunglasses’ flows along like a summer breeze, without a care in the world. With clean guitar tones and sweet  acoustics, it has quirky, hippie-fied feel, reminding this reviewer of BMX Bandits or even The Thrills. Instrumental ‘Introduction II’ comes on like a lost 70’s Aerosmith studio jam, with solos aplenty, before the band segues into ‘One Way Ticket’, a tune choc-a-bloc with Hammond and finger-picked guitar.

 

Seemingly untainted by the last 40 years of music, Rookie are a band rooted in the past. There are no Grunge, R&B or rap influences here. They don’t deal in Nu Metal, Ska or even punk rock. Hell no, I wager Rookie don’t even own iPhones! They play no frills rock ‘n’ roll from a different time, hats off to em, I’ll raise a glass to that!

Channeling the pop sensibilities of Cheap Trick, the riffage of Thin Lizzy and laid back, west coast Americana vibes, Rookie have succeeded in delivering a debut album steeped in 70’s rock nostalgia, yet still sounding remarkably fresh.

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Author: Ben Hughes

 

 

 

 

 

Bullets And Octane – ‘Riot Riot Rock n Roll’ (Bad MoFo Records/Cargo Records UK)

Bullets And Octane – ‘Riot Riot Rock n Roll’ (Bad MoFo Records/Cargo Records UK)

LA rock ‘n’ rollers Bullets And Octane follow up 2018’s ‘Waking Up Dead’ comeback album with a new 10 track affair entitled ‘Riot Riot Rock n Roll’. Long time frontman Gene Louis has behind him a stable and formidable line-up that has been destroying the pits and dives of the world for a couple of years now. With Felipe Rodrigo (guitar), Zachary Kibbee (bass) and Jonny Udell pounding the skins, it feels like the second coming for this band.

In the past Bullets And Octane have toured with Avenged Sevenfold and hit the festival circuits with the best of them. They have had albums produced by the likes of Gilby Clarke and Page Hamilton. But the music industry is a different beast to what it was 20 years ago and the crowds are also dwindling for everyone. It may seem like the glory days of live rock music are behind us, but Gene Louis has had to adapt to the times and Bullets And Octane have always been a band who thrive on being the underdog, and oh how we love an underdog here at RPM.

 

The roaring, meaty engine introduction leads into a title track full of trademark angst and rebellion with a catchy, anthemic chorus to shout from the rooftops. With a wall of distortion and a heavy, rhythmic beat, it carries a statement of intent that rings true through the entire album. Gang vocals have been a Bullets and Octane trademark for pretty much 20 years now, and ‘Riot Riot Rock n Roll’ shows no signs of the band changing that.

Gene spits and growls the vocals with the sleazy delivery of Lemmy meets Zodiac Mindwarp. Filipe peels off killer riffs and Slash inspired solos like his life depends on it, while the rhythm section pounds like a well-oiled beast keeping it all together.

The first single ‘Ain’t Gonna Be Your Dog’ was co-written by ex Buckcherry guitar player Keith Nelson and would not sound out of place on a Buckcherry record to be fair. A mid-paced radio-friendly rocker, the subdued vocals invite you in and then rage for the chorus. It comes on with guitars slung low and a middle finger raised in salute.

Bullets and Octane have always dealt in heavy, gritty rock ‘n’ roll and this album does not stray from that path. It’s the kinda music that has dirt under the fingernails and grease in the hair. Songs for the outcasts that reek of engine oil and have last night’s whiskey on the breath, but still retain melody and an anthemic quality.

With dark and foreboding melodies that skulk like Marilyn Manson is his prime and then morph into high octane choruses, the likes of ‘Addicted To Outrage’ and ‘Heaven Can Wait’ will always have me salivating. A shout out to Filipe’s inspired and inventive guitar riffs that just gives the likes of ‘The Devil’ an extra cool factor and makes ‘Give Me A Reason’ sound like a punk rock ‘Panama’ to these ears.

Then there’s the signature stand out anthems for troubled times and disenchanted minds. ‘Chaos’ is a timely anthem and one of the strongest tracks on offer. Riding on an overly familiar, yet killer guitar refrain, the verse pumps from the speakers. “What’s that? Let’s turn it up!” suggests the frontman, before the band blasts into yet another memorable chorus. Then closer ‘Lost Crazy Psycho’ has our illustrious singer almost rapping a diatribe before exploding into a glorious and volatile refrain that stays with you long after the (virtual) disc has stopped spinning.

 

Its 2020 and everything we know and take for granted in this world is fucked right now. If you are reading this, then music is your escape, and maybe a new Bullets And Octane album is just what you need. ‘Riot Riot Rock n Roll’ is 10 tracks of angst-ridden rock, choc-a-bloc with attitude and themes of escapism, rebellion and generally not giving two flying fucks!

It’s fair to say Gene Louis has not mellowed with age and Bullets And Octane are here to inject rock ‘n’ roll venom straight into the jugular.

Buy ‘Riot Riot Rock and Roll’ Here

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Author: Ben Hughes

 

 

Dystophian Future  Movies-‘Inviolate’ (Lasairfhíona Records)

Dystophian Future  Movies-‘Inviolate’ (Lasairfhíona Records)

Just over two years ago, snowed in and listening to new sounds I had a link bounced over to me by Pity my Brain’s main man Jamie Richards, that stopped me in my tracks, the LP was called Time the band was called Dystopian Future Movies. Looking into the background after duly ordering said LP I found that the band’s mainstays were Bill Fisher & Caroline Cawley from the rather tasty Church of the Cosmic Skull (If you haven’t discovered them yet I suggest you get a shift on!!).

For this album Bill and Caroline are joined in the band, by Guitarist, Rafe Dunn and Bassist Oisin O’Doherty. The rather stunning artwork comes from an image of an abandoned Tuberculosis Sanitorium in Caroline’s native Ireland.

Dark indeed and that’s where I want to start this review, opener “Countenance”, eases it’s way out of the speakers, at times Intense, at times sparse, leading with a dark brooding sense of decay, Caroline’s vocals adding an almost otherworldly ethereal feels. Being honest if you try and pitch a particular style of genre, you’d be wrong! Taking a stab I’d say post-Industrial at times? Highlighting a time in the future, where dark paths have been taken. There’s an underlying dread, but maybe a sense of hope?

Moving on next up “wreckage” draws you in, the discordant acoustic lead demanding attention before the vocals lift it up a gear you start to get the feel of a story being played out musically, the counterpoint vocals giving it a depth before we’re drawn into an industrial-style framework, with Bills drumming starting to become incessant, demanding almost. Before we get lost in the wreckage we’re moved forward into “Rules” almost a taking stock of what’s happening, vocally this is a powerful performance, the voice setting the tone for the at times sparse orchestration that eventually pulls you upwards and into the story unfolding. “All the Light” is a coming to terms song what’s come before and a movement away from where we’ve been. Again the vocals lead over a discordant, sparse musical background drawing you indefinitely less is more giving this track both an intensity and fragility. This fragility comes to the fore within next track “Kathleen”, a real stand out.

Moving or easing forward into “Black cloaked” and we’re drawn back into a haunted past, unable to break free from what we’ve experienced, this is a seriously good track and really pins you back, probably the most intense on the album, distorted, discordant and driving in equal measures. Before we’ve come to terms with what we’ve heard we come to a conclusion with “Ten years” we’re now the observer overseeing the whole, removed no longer part of the story.

This is a seriously good LP, bursting with ideas, and me for one will look forward to seeing it translated into the live arena.

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Author: Nev Brooks

 

 

 

 

 

 

Therapy? – The Greatest Hits (Marshall Records)

Therapy? – The Greatest Hits (Marshall Records)

Enduring and endearing that’s the threesome that makeup Therapy? they’ve have never been ones to follow convention even when they do something quite conventional like releasing a greatest hits album.

‘The Greatest Hits’ takes tracks from throughout their career of highs and maybe not so highs. This their 30th-anniversary run sees this new album breathing a fresh breath of brutality into already fiery songs.  I’ve always seen Therapy? as an iron fist in a velvet glove kinda band.  they can write some right out and out abrasive in your face slabs of noise but they can also be touching and heartfelt whilst delivering that punch (if you know what I mean?)  Oh and before I forget it also comes with a bonus live album.  Always offering value for money. I always thought the old adage about Motorhead applied to Therapy? because they will survive after any holocaust along with the cockroaches then probably put on a show before feasting on the mites such is their dogged determination to push on and never stand still even when looking back at themselves and what they’ve achieved they twist it and push the boundaries rather than offering up some cut and pasted best of and that’s because they give a shit about their legacy, their fans and the future.

‘Teethgrinder’ is first up and with a sparkling production, it has to be said. The band worked with producer Chris Sheldon, who produced the original ‘Troublegum’ album as well as working on ‘Semi-Detached’, ‘High Anxiety’ and ‘Cleave’ so a safe pair of hands – someone who knew the band and what they were/are about and was able to give them that extra piece of x-factor needed on this project.  No cost spared as they headed for Abbey Road none the less and its paid off in spades.

The 12-track album includes all their UK hits including ‘Screamager’ and a reworking of ‘Diane’; Featuring James Dean Bradfield of the Manics.  I forgot how fuckin’ menacing ‘Turn’ sounds with that grinding bassline twisting the listener’s inner ear throughout.  The one thing that stands out is how damn fresh these songs sound.  They never suffered from a shit production but this is another level as 2020 sees songs reborn.  ‘Nowhere’ still sounds epic and a real rush of adrenaline.  I can’t help but feel there’s a little chuckle being made having James Dean Bradfield singing on ‘Die Laughing’  maybe they should have renamed it ‘Dai Laughing’.

‘Diane’ is one of my favourite song from the band and this new take is brilliant.  Welcome to the church of noise one and all and those old-timers this is a great celebration happening here and those new to this band you’re most welcome but where the fuck have you been you maniacs? Heres to the next milestone and something else from Therapy? Oh, I guess I should mention the bonus disc, well, that’s fifteen songs one from each album live as a bonus with the CD version. It’s a great time to be a fan of the band then with so much going on as they head out the door to promote their 30-year plan so you can see them after you’ve played this greatest hits package to death.

As far as greatest hits go this one is up there with the best in the noisy bastard genre. Still on fire – Still not compromising – Still doin’ the biz. Therapy? I love em

Greatest Hits (2020 Versions) here

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Author: Dom Daley

 

David Ryder Prangley, ‘Black Magic And True Love’ (Serena Records)

David Ryder Prangley, ‘Black Magic And True Love’ (Serena Records)

The world needs stars. Real stars, self-made weirdos, who are forced to make their art because it’s a part of them. The downside is that the world at large ignores them nowadays. The gems glitter in the dark corners, hidden from view. David Ryder Prangley has always known this. Regardless, he helmed Rachel Stamp, and now Sister Witch. With this, his debut solo album, he is spoiling us.

 

While there are only seven songs, the quality demands your attention and cash. Yes, you can listen for free on Bandcamp, but if you love what you hear, grab a cd. Give me seven great songs over 30 minutes rather than another dull, drawn out album any time.

 

Yes, there is the anticipated, crunching glam sound, but also a broad palette of tunes. ‘They Came From The Stars To Capture Our Hearts’ opens the album, ethereal piano and vocals. I’m reminded of the stupendous Jonny Cola And The A-Grades, who, no doubt, owe a debt to Mr R.P. It’s beautiful.

 

‘Space Station Number Nine’ cranks up the riffs and drums, with some slinky, dual guitars. Music to pout to. ‘Trouble Every Day’, quite reasonably, sounds like Rachel Stamp. The production is great, proving that you don’t need a big budget if you know what you’re doing. ‘Forever In Starlight’ was the first track released with an accompanying video, plaintive and simple. I like to think that  Bolan would be making music like this. Love the guitar tone.

‘The Apple’ is an instrumental interlude, which brings us to the hip-shaking title track. Unashamedly glam, guitar and sax vying for attention. Prepare to strut your stuff. ‘Captain Sugar’ reminds me of Roxy Music and Prince, which takes some doing. It starts like something from ‘For Your Pleasure’, before the vocals get all fruity and the solo kicks off.

 

11th March, you can witness this for yourself at Nambucca, London. Sadly, I’m the wrong side of the channel now, but what’s your excuse? You won’t regret it.

 

Buy Black Magic And True Love Here

 

Author: Martin Chamarette

 

Dirt Box Disco – ‘TV Sex Show’ (Avenue Recordz)

Dirt Box Disco – ‘TV Sex Show’ (Avenue Recordz)

So here it is boys and girls, the seventh (or eighth if you include the ‘Hooray! Hooray!’ compilation) studio album from those lovable punk rock anti-heroes Dirt Box Disco and it’s also their first since the departure of singer Weab.

With news of the frontman’s decision to leave the Disco sending shock waves through the punk rock community back in early 2019 masked guitarist and songwriting dynamo Spunk Volcano decided (with the help of his bandmates; Maff Fazzo on drums, Deadbeat Chris on bass and Danny Fingers on guitar) that the time was right for him to step forward and grasp the microphone with both hands and ‘TV Sex Show’ is the result.

I guess some of you will probably be thinking, “oh it’ll just sound like Spunk Volcano & The Eruptions now”, and yes, on one of two occasions like on the foot to floor mosh pit fight starter ‘VDTV’ and (the first of two bonus tracks on the CD version) ‘Tizwatitiz’ you might have a point, as both of these tunes could (to my ears at least) very easily have been written as Eruptions songs. But, and this is huge BUT, within the context of the fourteen songs (there’s twelve on the vinyl) on ‘TV Sex Show’ this is still very much a Dirt Box Disco record.

Kicking off with ‘Unstoppable’, this a song that is destined to be an immediate live hit. It actually reminds me in many ways of ‘Rum & Cola’ from the band’s ‘Are You Ready?’ EP released back in 2011. It’s a rousing call to arms, a song of solidarity, and a clear message that Dirt Box Disco are not going to be messed about with almost a decade into their career.

‘Insomniac’ which is up next is where ‘TV Sex Show’ really shifts up through the punk rock gears though, and coupled with the trademark Volcano/Fingers six string chugger that is ‘Barebones’ I have to admit that after thinking I might well me doing a Judy Collins by now and asking “where are the clowns?, send in the clowns”, I’m not, and this has to be down to the strength of the songwriting with the likes of ‘I Want Out’, ‘Reminisce’, ‘3 Bottles Down’ and ‘Bitch Full of Stitches’ being some of the catchiest songs the band have ever recorded, and I’m not joking when I say that the Disco sound positively supercharged during the likes of ‘Dickhead And Hype’ and album closer (well if you have the CD anyway) ‘Wake Up’.

There are a couple of tunes that I’ve still yet to fully get my head around, namely ‘The Count of Monte Cristo Lives in San Francisco’ which whilst insanely catchy still has the ominous spectre of ‘Reminisce’ looking over its shoulder, and the same could be said of ‘Ain’t Life Grand’ which is the LP closer that has me thinking I’ll have to buy the CD too just to hear ‘Wake Up’ which really is this set of songs very own ‘Dirtbox Days’.

It would have been all too easy for Dirt Box Disco to have called it a day after Weab left, but it is to Spunk, Maff, Danny and Chris’ credit that they have risen to the challenge by releasing their strongest set of songs since their err.. legendary 2012 album ‘Legends’. So, my advice to everyone is get off your arses check it out sharpish. Pre-sales for ‘TV Sex Show’ are live right now via and if you want to secure one of the mega limited 500 only vinyl LPs you best get your skates on and get clicking the linky.

 

Buy ‘TV Sex Show’ Here

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Author: Johnny Hayward

Punk ‘n’ Roll unit THE ROOZALEPRES release brand new music video!

Punk ‘n’ Roll unit THE ROOZALEPRES release brand new music video!

Italy’s THE ROOZALEPRES are rocking out hard, serving heavy riffs and some of the finest full speed ahead Rock ‘n’ Roll. If you love rearing guitars and fast songs, this band is just what you deserve for a rocking Friday night or a pleasant trip on the highway with your car. Lay back and enjoy “Alien Television Show”, the raging and brand new music video.

“We chose this song, first of all, because we like the idea of representing the meaning of the lyrics in a video and our friend Wötsu was certainly the right person to collaborate with. We knew she would have fun doing it. The song speaks about the violent act of playing songs itself, dictated by the desensibilization that all media impose to the masses, getting alienated and addicted to it. And the other reason of our choice is that “Alien Television Show” is the first track ever written by the band.“, the band comments.

THE ROOZALEPRES s/t album will be coming out March 13th on Go Down Records and is available for pre-order RIGHT HERE

For more info visit:
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Trash Knife – EP, EP (FDH Records)

Trash Knife – EP, EP (FDH Records)

Philly punks Trash Knife has put together a collection of trashy lo-Fi punk rock that enters the cranium via the ear and buries itself in the part of the brain that experts would designate as the pleasure zone. Tell me that ‘No Ones Dancing’ doesn’t cause involuntary twitches at the very least.

It’s not rocket science being performed here its punk rock n roll with a tonne of melody trashy guitars clashing with the drums that are taking a good hiding and some vocals that range from the softly whispered ear caressing to the fuck you and the horse you rode in on screams and shouts. The songs are between a minute or two long and that’s it.  wham bang ‘The Party Party’ to bass rumbling pogo of ‘Struggletown Freakout’ via the Damned like hands in pocket shuffle of ‘I’m Down’ this record is an explosion of colour and sound.  Like I said it might not be breaking any new ground but the path they take is well worn and they walk the walk so damn well.

 

Go throw yourself around to ‘Kill your Selfie’ and if anyone asks you to turn it down flip em the bird and let em know you’re playing Trash Knife for fuck’s sake!

If you’ve got a short attention span and like to have a soundtrack whilst you break things then hey jump on board this, no doubt about it. It’s perfect for a frenzied attack.  Who said punk was dead? Trash Knife ‘Ep/Ep’ get it.

 

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Author: Dom Daley

American Jetset – ‘Saloon Rock Whiskey Pop’ (Self Release)

American Jetset – ‘Saloon Rock Whiskey Pop’ (Self Release)

American Jetset arrived in the world a little over a year ago and immediately impressed me on their debut EP ‘Live Love Die on Main.’ It quickly became a fixture in my rotation for the rest of the year. This release I suppose could fall in the mini-album category at six songs plus an intro. If you rewind 35 years, these songs would now be lodged into your brain by being played over and over again over the years as they would have been stars on the Sunset Strip, but the nice thing is American Jetset injects a healthy dose of a modern feel into their sound.

‘Welcome to Devil’s Canyon’ serves as a brief intro track that takes across the desert and into town as the train passes by. Drums rise in the background until we hear a woman scream that takes us into the sleazy awesome ‘Walking Contradiction.’ I love the bass intro by Kevin Harrington as it really sets up the entire song. With a sleazy groove that reminds me of early Faster Pussycat with some Junkyard added into the mix, this one contains a great hook in the chorus both vocally and musically. Ian Kaine MacGregor (also guitar) possesses a voice that can be really smooth but can also carry a slight sleazy whine when it is needed.  ‘Gold and Nines’ keeps up the excellence with a commercial feel, huge chorus, and plenty of guitar licks throughout the song to make you break out the air guitar. They even add in a part totally designed for a crowd to sing the chorus with them which makes it extremely contagious on even a first listen.

Lance Reeder and MacGregor have loaded these songs with plenty of guitar riffs and solos so even the mid-tempo ‘One More Time Around’ features an excellent riff and a vibe that just screams celebrating life, this moment, and blocking out whatever wall reality may be ready to throw at you. It makes me wish I had the ability to play guitar. They take a slight turn on ‘Getaway Car’ which adds the slightest of twangs to the music but is in no way a country song as it is still clearly a rock song, just more subdued. The backing vocals give it some nice depth, and the guitar solo works perfectly.

‘1000 Ghosts’ features a quick riff that provides an immediate hook to the song that sticks to you like maple syrup on your feet. They then lay into a catchy chorus that will likely find you singing along as you’re bouncing around the room, car, etc. The final song ‘Never Be Goodbye’ provides that acoustic campfire kind of send off that works perfectly for this release. As the band’s stature grows, this could turn into one of those moments where it is just the crowd singing and clapping as the band prepares for an encore.

At just about 20 minutes, there are no wasted moments here. It is over way too fast and leaves you wanting more. The solution is, of course, to play the whole thing over again, and, if you don’t have them yet, I recommend adding the first EP and the ‘This Ain’t Hollywood’ single to your mix for more of a full album experience. American Jetset crashed into my world over a year ago because of their great songs, and this release shows that they were not a one-trick pony. Pick up this album and prepare to sing your butt off while these songs remind you of how good music can make you feel.

‘Saloon Rock Whiskey Pop’ is available now.

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Author: Gerald Stansbury