Earth Vs The Wildhearts to get vinyl re release

Earth Vs The Wildhearts to get vinyl re release

The critically acclaimed debut album from The Wildhearts is back in print for the first time in 26 years. Pre-order – released on 13/09/2019

Re-Released in all its glory on 180gm vinyl Earth vs  sees classic albums back on vinyl to complement the Round Record releases of the more recent Wildhearts albums.

Originally released in 1993, “Earth vs The Wildhearts” is the critically acclaimed full-length debut album from The Wildhearts, fronted by the inimitable Ginger, and featuring the singles ‘TV Tan’, ‘Suckerpunch’ & ‘Greetings From Shitsville’. Hailed as Kerrang! magazine’s Album Of The Year in 1993, it was originally issued on LP, cassette and CD, with the vinyl edition soon becoming a much sought after collector’s item following its deletion. Now, for the first time in 26 years, the album is being reissued and will be available on heavyweight black vinyl.

Pre Order Here

Jack Oblivion & The Dream Killers – Lost Weekend (Beluga Records / Ghost Highway Records)

Jack Oblivion & The Dream Killers – Lost Weekend (Beluga Records / Ghost Highway Records)

Jack “Oblivian” Yarber was an absolute unknown to my ears I’m not afraid to admit even if he is on solo album number seven!.

Finding time doesn’t seem to be a problem for the prolific Yarber as the list of bands Yarber has been a member of over the years is Huge and a review all of its own but he has spent time with Johnny Vomit & the Dry Heaves (a high school punk project that also featured future Squirrel Nut Zipper Jimbo Mathus), ‘80s new-wavers the End, ’68 Comeback, Knaughty Knights, and Tav Falco’s Panther Burns. Two of Yarber’s former bands — the Compulsive Gamblers and the Oblivians — have seen their reputation and following swell in the decade since their demise, especially the Oblivians, whose international fan base borders on rabid. Due largely to his stint in these bands, both partnerships with Greg Cartwright, now of the Reigning Sound, Yarber has been an acknowledged influence on artists such as the White Stripes, the Hives and Jay Reatard. and breath.  Don’t worry I’d only heard of the last three bands as well.

So what do they sound like you ask? Well, its got a melting pot kinda vibe about it but all within the confines of playing some tasty Garage Rock and Roll and some swampy blues thrown in for good measure. The first track is an instrumental bluesy workout that has plenty of guitar choppin’ but in the time-honored tradition of Thunders opening with ‘Pipeline’, it’s not the longest song in the world and helps the listener get comfortable before heading deep into the record.

‘Scarla’ is a stomping bluesy bit of slide driven Rock and Roll with the merest whiff of Psychedelia on those vocals but its a toe-tapper. ‘La Charra’ is brooding but I keep waiting for the drums to kick in over the honking horns but it doesn’t and before you know it the songs moved on.  That’s another point here the songs are pretty short which is why they’ve managed to cram in Sixteen songs. Maybe treat the instrumentals as more like musical interludes while you go get anouther beer from the cooler.  ‘Girl On The Beach’ has a little bit of Reggae going on and does remind me of Jaya the Cat in a weird sort of way.

The recording sounds a little lo-fi but that’s sympathetic to the style the band is bustin’ out ‘Stick To Me’ is like they’re channeling their inner Keith Richards which is never a bad thing right? Right.  That Lo-Fi vibe is never more evident than on ‘Dream Killer’ with its drum machine buzzing by. Things get snotty on ‘Boy In A Bubble’ whilst it sounds like they’re leaning on Wilco Johnson on ‘Funky Blue’.

I love the folkiness of ‘Bank, Gun, Jail’ its like Dylan never happened. Possibly saving the best til last as ‘Loose Diamond’ is Chuck Prophet leading the Urban Voodoo Machine through a slow smoke filled daydream a very decent tune indeed.  I think if some of the chaff was cut away off this record Jack would be sitting on an excellent garage blues album that’s not saying its not a very good record but it might help focus the listener’s attention better or is it just me?  Either way, go check out this cool slab of wax and drift away to something entirely different.

Author: Dom Daley

Beluga Records Here

Ghost Highway Here

Bored – Take It Out On You (Bang Records)

Bored – Take It Out On You (Bang Records)

‘Take It Out On You’ is 1990 Bored! E.P. Which has now, On this release been expanded by adding a bombastic and brutal take on ‘Iron Man’  to complete these sessions from that year; it features Tim Hemensley on both Bass and Vocals. Australias best exponents of loud over the top Rock and Roll!

Its dark – mysterious – dirty;  Detroit dripping Australian Rock and Roll at its absolute finest.  Perfectly marrying that Stooges fuzzed-out – Fucked up reckless Rock and Roll with some of Australia’s finest like Birdman and a clear understanding of punk rock and at the sharp end of the Grunge explosion along with the likes of Mudhoney they get all that Detroit influence.

From the opening ‘Conquest’ you certainly get the impression of a band who’ve left the tape rolling inside a studio with no windows or air-con and a band who are just playing harder and harder.

It’s a killer collection of full of wild riffage and attitude soaked vocals. ‘Mr 10 Percent’ is everything you wan tit to be.  Purposeful, angry yet just being under control and even when the solo takes off it never sounds like they’ve lost control.

‘Sweet Charity’ is pure ‘Funtime’ era Stooges with its stretched out jam vibe and seven minutes of sonic excellence as it assaults your senses on several fronts.  Its a heaving angry jam and played loud is a Godsend of Garage punk Rock. the title track, however, has a handle on a more rock n Roll Misfits kinda vibe rather than being just punks they take the Garage Rock route.

There isn’t a huge body of work behind the band but there is a history of quality and Bang Releasing this on the back of 2016 ‘Piggyback’ compilation is a pretty decent place for you to start if you’re new to Bored!

Side two of this album starts off with my favourite track on offer here ‘Final solution’ has a huge throbbing bass chug and sort of mashes up some Jon Spenser Blues Explosion with some of that Detroit Action Rock n Roll and absolutely own it.  I love the chorus and the laid back tempo and groove of the song is exceptional. ‘Motherfuckin’ Motherfucker’ is like Iggy fronting Motorhead and as far as attitude goes what are you expecting considering the song’s title?  All killer and no filler is about the best place to start.

‘Iron Man’ is heavier (if that’s possible) imagine if Sabbath were a punk band weened on VU and the MC5 rather than UK psychedelia. It does, however, sound like a whole world of fun and I’d imagine more than a couple of stubbies were downed in the making of this racket and when the tempo changes someone is certainly channeling their inner Kramer meets Iommi and that’s always a cool place to be.

If you like loud guitars and songs with a great sound in the Garage Punk hard rockin’ style than fill yer boots you’ll love this bad boy.

To be fair to BANG! Records they have pushed the boat out as far as Bored! goes and have plenty on offer over on their web site.  BORED! “Get off my wah-wah and suck this!”, BORED! “Piggyback”, 2LP, BORED! “Negative waves”, LP-CD, BORED! “Junk”, LP, BORED! “Scuzz”, 2LP, TIGER BY THE TAIL, S/T, LP-CD (Featuring Dave Thomas on vocals and guitar)and to complete the set ‘Take It Out On You’ is here. Buy it
Bang! Records Here

Author: Dom Daley

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

Jordan Jones – S/T (Beluga Records/ Spaghetty Town Records)

Jordan Jones – S/T (Beluga Records/ Spaghetty Town Records)

Wow,  Every now and then a record comes and absolutely knocks you off your feet from the first listen to the last refrain of the guitar on the last track of the album. Well, Jordan Jones did that to me from the first minute I dropped the needle and the acoustic guitar sounded the battle call for ‘I Wrote You A Song For Me’.

An absolutely blistering ray of sunshine of an album that just screams summertime and plonks a big fat smile across my chops as I drift away lost in the music.

 

Sure,  its nothing more than ten songs with varying tempos played with traditional instruments in a power-pop Rock and Roll style.  Its got swirling organs – acoustic guitars,  overdriven clanging electric guitars and a sweet vocal not a million miles from the late great Marc Bolans tone.  When you sprinkle in some magic dust and glamtastic harmonies – for me, you’re onto a sure-fire winner and this self-titled ray of Californian sunshine is quite simply fucking Brilliant!

‘My Somebody’ plugs straight into a slab of power pop Posies style but with a heart and soul belonging to Ronnie Lane and some of his Faces style of writing tunes that subtle yet awesome melody.  From the swirling organ to the instrumental breaks that lie behind the slightly distorted riffs – Damn this is good.

Without jumping ahead let’s not ignore the opener that grabbed my attention before the first bar had finished. ‘I Wrote You A Song For Me’ is some street fighting riffs on the old acoustic guitar. A melody so sharp you can hang your hat on it – followed by an almighty arrangement. You might think I’m getting a tad carried away here but this album really is twelve inches of sunshine and great songs.

‘Understood’ is carefree trash ‘n’ roll as it just throws its arms in the air and rocks out as a good power pop song should. Well, one that’s got a dash of The Boys-style punk rock pumping round its heart. ‘No Makeup’ deffo has a hint of The Faces about it as we tread down the familiar pattern of Girls – love – loss – heartache – breakups –  you know the kind of stuff Rock and Roll has always been about – nothing too heavy here.

I couldn’t pick a favourite that would be unkind to the other track but ‘Rumour Girl’ comes pretty close to the top.  Plenty of energy great harmonies and arrangement.  ‘Waiting’ is a slower more peaceful meander like a Teenage Fanclub song with a real 70s edge to the melody. If you don’t like ‘Be My Baby’ then I’d seriously check your pulse it’s like The Exploding Hearts never went away and a fantastic rocker with jangly guitars mixed in for good measure.

Just to back up my gushing praise of this record it seems to get stronger and stronger and unlike many album front-ending the best tunes this one is easing you in gently so your heart doesn’t skip a beat by the time you reach the simple yet so effective acoustic twelve-string pickings of ‘Do You Want To Hang Out’ with its super harmonica break – it’s as simple as that –  storytelling in the same vein as say a Kevin Jr or a Nikki Sudden its just plain and simple and comes across as effortless and hits the spot so so well. The album ends with the gentle ‘Oh My Heavenz’ yup a song with a glam rock Z on the end.  Jordan Jones has released one of the finest debut solo albums of the year.  This guy should be a superstar it comes across as effortless to Jordan but I’m sure it isn’t.  Don’t think about it just buy this record!

Buy Jordan Jones Here (USA)

Europe Buy Here

The Volcanics – ‘Black Door’ (Citadel/Ghost Highway Recordings)

The Volcanics – ‘Black Door’ (Citadel/Ghost Highway Recordings)

Every once in a while an album comes along that almost completely flies under your radar but the tunes on offer stop you in your tracks and kick you straight between the legs like some musical steel toe capped boot.

‘Black Door’ the all-new eleven tracker from Australian five-piece The Volcanics is just such a record. Boasting a Jim Diamond mix job this record cuts, like a fucking knife, the tunes are that sharp. The songwriting adding a fantastic pop twist to the already well-worn garage rock/punk rock formula that sees oh so many bands falling at the final hurdle when it comes to having that extra edge to make them stand apart.

Perhaps The Volcanics secret ingredient is the huge presence of vocalist Johnny Phatouros who shines throughout, and where some singers might just put their foot on the monitor and scream out belters like ‘Talk’  and the album’s title track, Johnny throws in off-kilter vocal hooks that at first seem at odds with the band’s throbbing backbeat, however once they sink in you cannot help but marvel at just how simple and effective his approach is. In many ways, he is like the band’s Pelle Almqvist or their Skye Vaughan-Jayne.

Talking of Skye for a moment the immediate buzz I got when listening to ‘Black Door’ for the first time was this could very easily have been the follow up to The Chelsea Smiles awesome ‘Thirty Six Hours Later’ album from 2006, and if you are familiar with that classic, you’ll know that we don’t make comparisons to that work of absolute punk rock genius that often here at RPM towers. So, if that’s sparked your interest then ‘Changes On My Mind’ is the tune I suggest you listen to first (via the Bandcamp link below) and trust me when I say “have a cold beer in hand when you press play” and “just let the music do the rest.”

With influences as wide-reaching as You Am I and AC/DC The Volcanics actually remind me more of Radio Birdman and Midnight Oil, albeit with (thanks to the aforementioned Diamond mix) a sound that manages to hammer home the intensity of the band whilst retaining the clarity of the melodies, the latter being the essential difference and why tracks like ‘2000 Years Ago’ and ‘You Don’t Even Know The Song’ work so bloody well.

To be honest I’m a little bit gutted that I’m only just discovering The Volcanics now. five albums into their career. Still better late than never eh, and when the first tracks I get to hear by them are as fucking fantastic as those on ‘Black Door’ then the real positive about this situation is I’ve now got four more Volcanics albums to look forward to catching up on.

Look I can’t recommend The Volcanics highly enough, they are chock full of positivity in an age of the negativity and I challenge you right here and now to go listen to ‘Black Door’ and not get the same buzz I did the first time of listening.

Album of the year material? You betcha.

Author: Johnny Hayward

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The Cult Sonic Temple at 30

The Cult Sonic Temple at 30

Following on from the awesome job Beggars did on the ‘Love’ anniversary it seemed about right for them to get stuck into The Cults ‘Sonic Temple’ when the band reached the top of the Hard Rock tree and played Wembley Arena which seems a lifetime ago now (it probably was).  The band enjoyed enormous success with the record and subsequent videos and singles off the album and it looks like once again BB has delivered the goods with these awesome Sets.

The Vinyl BOX SET contains three pieces of vinyl and a cassette plus tour memorabilia and ephemera (replica of original laminate, backstage pass, original press releases, label copy and more). It’s numbered and limited to 3000 pieces worldwide and contains 40 tracks, four of which are previously unreleased. LP1+2 contain the album as originally released. LP3 contains Live At Wembley recorded by the BBC, and the included cassette contains limited-release demos. Four of the live tracks are previously unreleased.

Whilst The FIVE-CD SET contains 53 tracks (including 6 previously unreleased) with the original album on disc 1, alternate edits, mixes, extended versions and acoustic versions on disc 2, limited-release demos on discs 3 & 4 and Live at Wembley recorded by the BBC on disc 5. Six of the live tracks are previously unreleased. It is beautifully packaged in book form with rare photographs and interviews with the band by esteemed journalist James Brown.

 

Beggars Banquet Webstore

to dovetail the releases the Cult return to the UK for a tour dates below

TOUR DATES
Oct 15 Nottingham, UK – Rock City
Oct 17 Birmingham, UK – Academy
Oct 18 Cardiff, Wales – Cardiff University
Oct 20 Leeds, UK – Academy
Oct 21 Aberdeen, Scotland – The Music Hall
Oct 22 Glasgow, Scotland – Academy
Oct 24 Manchester, UK – Apollo
Oct 27 London, UK – Hammersmith Apollo
Oct 28 Bristol, UK – Academy
Oct 29 Portsmouth, UK – Guildhall

Kenny Wayne Shepherd – The Traveler (Provogue Records)

Kenny Wayne Shepherd – The Traveler (Provogue Records)

Not many guitar players can get away with 3 names, it takes a special kind of player to pull it off. Like his hero Stevie Ray Vaughn before him, Kenny Wayne Shepherd proudly wears his three names across his catalogue of music.

Since bursting onto the scene in the mid-90s, Kenny Wayne has put out album after album of guitar-heavy, Texas-tinged blues rock. He wears his influences on his sleeve and that’s ok because he always puts a spin on things that is distinctly his own.

I’ve been a fan of Kenny for a long time and I’ve spent hours jamming along to his records and trying to capture that incredible Stratocaster tone he produces. His latest offering, The Traveler is no exception.

From the first listen of opening track Woman Like You, I’m hooked. Kenny always starts his albums with an up tempo rocker and this track stands strong to kick off proceedings. Sticking with the hard and driving feel, Long Time Running keeps my head bobbing. Vocalist Noah Hunt sounds on top form and Kenny’s guitar player is just excellent as always. I don’t think I’ve heard this guy play a bad note.

From listening to his back catalogue and seeing him live, I always feel his playing takes on another level in some of his more spacious and slower songs. The third track I Want You has a long guitar solo, but who cares? When someone is playing like that, it can go on for as long as they want it to. It’s full of soul, heart and fire.

Tailwind and Gravity follow up with a dip in tempo to a nice, chilled acoustic lead section of the album. It might feel like the band are taking a breather here, but these songs still kick some serious ass. The chorus of Tailwind was just written to be sung by a room full of music lovers. Gravity is just full of gorgeous melodies and a guitar solo that could make a grown man cry. How he coaxes those notes from a guitar no one will ever know.

I feel that this album offers a bit more head bobbing rockers than the last album from Kenny and co. We All Alright keeps us thundering along with it’s thumping drums and huge chorus.

Take It On Home is one for the lovers in the house. A tender ode to coming home to the place and person you love. Kenny spends a lot of the year on the road so you can certainly believe every word he sings on this track. And yes, I do keep saying it… but wow… what a guitar solo!

Mr. Soul might sound like a familiar riff. It’s very much a Stones influence. I mean, it’s from the right era. Originally written in 1967 by Neil Young for Buffalo Springfield, this riff has given listeners over the years many hours of ahem… Satisfaction.

Every album has got to have one song that makes the listener say “that’s about me!”. It’s that feeling of relating that keeps us coming back to our favourite tracks. Better With Time for me, is that track. It’s an ode to growing up, loving, losing and learning. Like a fine wine, life sometimes gets better with age as we grow older and wiser. Kenny and the band have captured that exact feeling.

The album closes with the Joe Walsh penned Turn To Stone, this has all the southern stomp you need to get on down. Infectious grooves fill the song before the wah-drenched lead guitar epic that kicks in before the second verse. This is only a short lead burst though; Kenny is saving his ammo for the big shootout in the middle of the song.  From 2 minutes and 10 seconds in, the vocals are out. We’re reminded firmly why we came here, to listen to some damn fine guitar playing. For the next 2 minutes, we belong to Kenny Wayne Shepherd as he takes us on a journey through loud and quiet, up and down, fast and slow before bringing the album to a crashing close.

The Traveler has taken me on a journey. Pack your bags, it’s your turn now.

Buy The Traveler Here

Author: Leigh Fuge

Poison Boys ‘Out of my Head’ (Deadbeat Records)

Poison Boys ‘Out of my Head’ (Deadbeat Records)

Expectations sometimes provide shocks to the system when things prove to be quite different that what you expected. The Poison Boys have released some previous singles/ EPs and material, which I have loved, and I went into this debut album expecting the album to be a more straight forward up tempo punk n roll album. While it is definitely a punk n roll album at its core, these 12 diverse songs make up an album that is diverse, deep, accessible, and a whole lot of fun. I have been following the Poison Boys for a few years now, and I could not be happier with what they have done here. I can imagine everyone from Chuck Berry to Johnny Thunders wanting a chance to come back and guest on this one.

The title track gets the party started and hits my original expectations as it comes on like a cross between the Humpers and Electric Frankenstein. The mix allows the guitar riffs by Matt Dudzik to pop out of the speakers and the bass (mostly Adam Sheets) and drums (mostly Matt Chaney) hit just as hard. ‘Slow Down’ starts with some brief piano notes before everyone else gets in on the action. The riff in the song feels pretty standard, but the song really connects perfectly. I actually thought about old artists like the Big Bopper here as well as someone like the J. Geils Band as this song compels the listener to smile and enjoy the moment. I can picture the glasses in the air as the crowd sings along to the main hook. Another stone cold rock n roll style classic follows in ‘Cut Right Out.’ If anyone out there remembers the likes of Junk Records, this one would have fit like a glove on their roster with those backing ‘wooohs’ settling nicely in the mix. The beat here carries a great groove, guaranteed to get the hips shaking.

Starting on track four with ‘Empty Heart,’ we start to see the band really expanding the songs. The thundering groove of this epic five minute plus song initially may feel a little long, but this one has proven to be a grower with Dudzik’s charismatic vocals being stretched and pulled on the journey. ‘Downtown’ returns to a fairly basic trash rock standard approach with a simple hook that hits the spot. It feels a bit like the Stones jamming with Hanoi Rocks, especially the way some of the guitar pops in the mix where it gets some extra space. I also love the false ending but perhaps I should not give that away. Wrapping up the first half of the album, ‘Up to the Sky’ opens with some acoustic guitar reminding me of Johnny Thunders before the song kicks in at a midtempo pace on this fellow five minute rocker. The acoustic guitar touches really give this album a wonderful depth. Dudzik’s vocals on the chorus really inspire a singalong, even if you are like me and can’t sing a note.

Flip the record over and the good times show no let up with first single/ video ‘Tear Me Apart’ getting it started at breakneck speed. The vocals really take a backseat here with the verses featuring fewer words, and the electrifying guitar riffs pushed to the surface. The hook in the chorus is sharp, but it is the guitar that has stayed with me the most on this one so far. The piano that is featured here and across other songs will hopefully be replicated in the live setting. ‘Desperado’ features some awesome saxophone and again reminds me of early Hanoi Rocks, right down to Dudzik’s vocals, the tasteful backing vocals, and the way the chorus is constructed. This has been one of my early favorites from the record.  Hopefully, the band will get an opportunity to make this a single at some point. Slowing the pace down a bit, ‘True Romance’ simmers along nicely with the groove getting under the skin. The backing ‘woooh’s’ are used again here to awesome effect. When the main chorus hits, it really opens up the whole song with the switch in the dynamics.

‘I Won’t Look Back’ turns the tempo back towards rocket speed with the guitar licks again deserving to be highlighted, but the song itself has been the slowest to connect with me. The band hit trash rock nirvana again with the rollicking ‘Say Goodbye’ reminding me again of the Humpers with the rhythm section nailing this one. Closing song ‘Been Here All Night’ truly feels like it had to be the closer on the album and ends the record on an incredible high. The song shimmies and shakes on the beat with the guitar riffs begging to be played by the listener. Something tells me the guys worked long and hard on this one but knew exactly where it needed to be on the album. It just feels like a celebration musically.

The Poison Boys showcase that there is plenty of magic left in rock n roll over the course of these 12 songs. There has clearly been a ton of heart, sweat, and love used to create this album as these songs drip with the genuine distilled spirits of everything that makes rock n roll amazing. Are the vocals always spotless? Do the instruments hit every note perfectly? Absolutely NOT! This is pure, primal rock n roll the way nature intended. A great summer for music became even better with this album.  Recommended? You should have it put it on order when you started reading my introduction.

‘Out of my Head’ is available Here

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Author: Gerald Stansbury