Crazy & The Brains – ‘Where The Juice Drips’ (Self Release)

Crazy & The Brains – ‘Where The Juice Drips’ (Self Release)

We go a long way back with Crazy & The Brains all the way back when they were first released by Baldy Longhair Records and from that debut release they’ve always hit the spot with their out of step punk rock with a twist of Garage and Xylophone madness and something they like to call anti-folk (I dunno either) anyway, They’re back in the house with a raging barnstorm of a new record and always offering value for money with their records this one is full to bursting.  They’ve never strayed far from the blueprint of what made them great and once ‘Over The Edge’ hits the speakers you know what you’re in for.  Its vibrant, rapid, maybe slightly off the wall but it’s a right powerhouse of an opener. Its the second track that intrigued me more from the thumping bass line raging throughout or those chanted vocals this tune is on fire, I Mean FIRE! ‘Live Fast Burn Cash’ is roided up from the grunt on the guitars to the pounding on that Xylophone – Top tune.

It isn’t all bash n pop as ‘Brown Rice’ kicks back and to be fair like its predecessor ‘Out In The Weedz’ this has been enhanced by Pete Steinkopf of Bouncing Souls who once again recorded the record in Asbury Park, NJ. I think on the evidence before me the songs are really strong on this release and songs like ‘Not Today’ should be huge these cats should be heading towards the top of festivals like punk rock bowling they’ve got the chops and prove it year on year.

The Ramones influenced ‘I Don’t Deliver Pizza Anymore’ is a blindingly good example of how good this band can be and it features cello from Jen Fantaccione, who also plays with The Front Bottoms (Great name) from the opener to the skank of ‘Born Free’ the Brains trust hit the spot again and really do deliver.  If you’ve never heard of them nows your chance to jump on board and what a back catalogue to discover.  It’s not like you’ve got anything else to do at the moment and discovering great bands who cut great records is an awesome way to pass the time whilst on lockdown and no better place to start than with the real Jersey boys.  Crazy And The Brains.  Get on it!

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Author: Dom Daley

Faz Waltz – ‘Rebel Kicks’ (Spaghetty Town (USA) and Contra (Europe))

Faz Waltz – ‘Rebel Kicks’ (Spaghetty Town (USA) and Contra (Europe))

I’ve always enjoyed Faz Waltz, but considered them the kid brothers to Giuda’s bang-on blend of glam riffs and muscular tunes. But, hey, it’s been a weird couple of years. While Giuda remain kings of the live stage, their last album was a tad patchy. I enjoyed some of the 80s flavoured songs, but it didn’t gel. This was the ideal time for Faz, Diego and Marco to show us what they’ve got.

 

While the sun is shining, no one feels too groovy about it, but this is going to brighten your day. Faz Waltz have brought their A game. You may have heard ‘Grown Up Guy’ and ‘Rebel Kicks’ already. The latter pounds the piano like Elton in ’74, and is almost as entertaining. Some bands don’t want to be image conscious, which I find puzzling, but the majority of songs here do the talking without the glam threads.

 

There’s no shortage of addictive riffs. ‘Got Me Goin’ tips a nod at an up tempo ‘Cmon Feel The Noize’, while ‘Broken Teeth’ has the edge of Mott’s ‘One Of The Boys’, before the Slade drumbeat drops in. ‘Rock N Roll Is Tough’ and ‘Born In The Wrong Time’ are very similar straight ahead rockers, one too many, perhaps. But, I imagine it’s perfect for a long drive with the windows down.

 

The two slower songs are amongst the highlights. ‘Do You Remember?’ namechecks T Rex, with appropriate backing vocals and a lilting piano somewhere between Bolan and Slade. ‘Heroes And Ghosts’ opts for the acoustic approach, and is a short, tender song.

 

My favourites so far are ‘Fighting On The Dancefloor’, which sounds like the Rubettes after one Watney’s Red Barrel too many, and ‘Is It Love?’, which ends the album on a Glitter Band beat and cracking melody.

 

Available on pink, white or black vinyl from the band’s Facebook page. No CD, as yet. Once we can actually get outside, it could be the soundtrack to the summer.

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Buy ‘Rebel Kicks’ Here

Author: Martin Chamorette

Brassick – ‘2.0’ (TNS Records)

Brassick – ‘2.0’ (TNS Records)

I first caught Brassick at the famous Slugfest, Can’t even remember what one as the years blur into one but they always stood out as a passionate bunch of punk rockers who were committed and 100% lifers to the cause and always gave nothing less than that when performing. In Nicola, they have a whirlwind and compelling frontperson leading from the front and never taking a step back. Their live shows often fly by in a blur of energy and noise and as uncompromising as it can often get but on record you do get to see behind that brutal live energy.

This is the second album from the Brum noisebringers but there is more to them than just kicking up a full-bodied volume assault that’s evident on ‘They Said’ that whilst does engage in power it does hold back and you get some pretty nifty Oi! bv’s. On the third track, they tentatively put one foot in the metallic riff-a-rama with a beast of a tune ‘It Could Have Been Any Of Us’.  If this doesn’t get the blood pumping round you then I’d be worried but they aren’t singing about dungeons and dragons or headbanging in unison they have lyrics that tackle real subject matters ones that matter to our lives every day  Brassick are deadly serious when it comes to being anti fascist, anti-capitalist and pro-equality and that’s the mantra of the lyrics. They’ve been a going concern on the circuit for the last eight years and they’ve grown as they’ve got more confident and on this evidence can easily stand toe to toe with their peers such as GBH whos Jock funnily enough guests on this very record.   There is some fine musicianship going on here and whilst it took an age to release (their words) the light at the end of the tunnel will be some fine recognition as people get to hear this album.

‘Half Life’ is hardcore but adding different textures to the lead vocals works well as does easing back to unveil a really good tune. But don’t worry they’ve not gone soft as ‘Nobody’ leaves you in any doubt which side of the fence these cats are on.  I love the breakdown as well.  There are fourteen tracks on offer here and I’m glad it has seen the light of day and what a better way to spend a lockdown than with some Brassick.  VFM, bang for your buck call it what you like I call it a fuckin’ banger so don’t delay kids get on it and turn it up! ‘Stagnate’ flys by in a blur of energy tighter than a gnats chuff but there is a lot going on over the fourteen tracks and ‘Pull Me Up’ works really well with a great chorus much like the crisp riff on ‘No Longer’. The world needs bands like Brassick and their ‘2.0’.  Enough waffle from me I’m going back in for some more.  Buy It!

 

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Author: Dom Daley

 

The Wanderers – ‘Only Lovers Left Alive’ (Gutterwail Records)

The Wanderers – ‘Only Lovers Left Alive’ (Gutterwail Records)

By 1980 the UK’s finest purveyors of ‘erbert rock Sham 69 were all but a spent force. Singer Jimmy Pursey having long since become disillusioned with Sham chose the start of a new decade and the release of the band’s fourth album (‘The Game’) as a platform from which to announce his intentions to pursue a solo career (by way of a previously failed attempt to team up with Steve Jones and Paul Cook as Sham Pistols in 1979). Thus, leaving the remaining Sham members Dave Parsons (guitar), Dave Tregunna (bass) and (drummer) Rick (Goldstein) Rock singer-less and wondering what the hell to do next.

Quickly hooking up with (ex-The Dead Boys) frontman Stiv Bators (I’ll not share the story here of how this came about as the excellent Dave Parsons penned sleeve notes included in this reissue pick up on the finer detail) The Wanderers were soon born and signing to (Sham’s old label) Polydor they were dispatched to write and record what would become their one and only album ‘Only Lovers Left Alive’.

Having long since been out of print on any format (copies of the original LP and the reissue CD are currently going for around £40 online) and as such deemed very much a “collector’s item” amongst fans ‘Only Lovers Left Alive’ is thankfully now being given a long overdue reissue on vinyl (pressed up on a variety of random colours) by US label Gutterwail Records. I myself finally picked up a CD copy (released via Captain Oi! here in the UK) over a decade ago at Rebellion Festival for the princely sum of £5 and it’s still very much one of those go to albums in my collection, when someone asks that well-worn conundrum of “what band do you think should have been huge but never actually made it?”

Expanded here to fourteen tracks and finally including the (rumoured to be) lost track ‘They Made Me A Criminal’ which bizarrely had its lyrics printed on the original Polydor LP sleeve but was never included in the final track listing, this reissue offers up the chance for a whole new generation of fans to experience perhaps the definitive version of this much overlooked “cult classic”.

Sounding not unlike a poppier version of the band Bators and Tregunna would go on to form just a few years later it’s the Mick Glossop production on ‘Only Lovers Left Alive’ that immediately has me wondering if had been building himself up for the bass and drums onslaught he would bestow on Waysted’s classic ‘Vices’ album just a few years later,  as here it’s the keyboards and trebly edge on cuts like ‘It’s All The Same’ and the parp-tastic ‘A Little Bit Frightening’ that tend to catch the ear.

In fairness (keyboards aside) the same production does give the album a kind of “timeless” charm and cuts like the Sham Boys crescendo of opener ‘No Dreams’, the glorious two minute pogo-pop overload of ‘Beyond The Law’ plus the superb proto Lords punks of ‘Ready To Snap’ all have me wondering what it would have been like to have seen The Wanderers live with the energy levels cranked to the max. Likewise the likes of ‘Sold Your Soul For Fame’, ‘It’s All The Same’ and  the aforementioned (faithfully restored from cassette) ‘They Made Me A Criminal’ add a depth and maturity to the songwriting that belies the band’s fledgling tenure.

I’m not entirely sure where the source of this reissue was taken from but my promo MP3s feature a couple of light pops and crackles – something that the Captain Oi! CD never had – and this makes me think it must have been taken from the original vinyl or perhaps the promo itself is a rip from a re-pressed LP? Either way, ‘Only Lovers Left Alive’ is an excellent album, and is most certainly one every self-respecting fan of Sham 69 and The Lords Of The New Church should have in their collection.

Buy the record: Here (USA)

Buy the record: Here (Europe)

Author: Johnny Hayward

The Psychedelic Furs – ‘Made Of Rain’ (Cooking Vinyl)

The Psychedelic Furs – ‘Made Of Rain’ (Cooking Vinyl)
Their first album in almost 30 years, since releasing 1991’s World Outside and splitting up soon after. Reuniting early on in the Millenium, existing as a touring entity only, I was genuinely surprised to hear that the band had signed an album deal as I always assumed there was no appetite to record new material. With the bands last commercial peak being 1987s Midnight to Midnight they were seemingly destined to remain a nostalgia act spending a majority of their time on the road in the U.S.
 
A strong opener in “The Boy Who Invented Rock & Roll”, a great layer of brooding synth showing growth in their song output and even having a bit of a Dark Wave element. “Don’t Believe” is the established first single released back in January. It really sits in the foundations of classic non-pop Furs, which makes recent single “You’ll Be Mine” even more of a disappointment. It’s a limp number at best.
“Wrong Train” kicks off like a New Order football jingle though quickly detours into a bitter-sweet, epic confessional. Speaking of pills, car crashes and turmoil amid filthy guitar and sax duels. An absolute stand out track. The only low here being when it finally ends, though “This’ll Never Be Like Love” drags you into a somewhat beautiful pit of despair. The track really does hark back to the sound of their last two (criminally overlooked) albums.
“Ash Wednesday” has the same level of brood, but at over 5 minutes it never really goes anywhere and it’s a bit much to take. It’s the same case for “Come All Ye Faithful”, trying to be direct and edgy but coming across very much like filler material. “No-One” thankfully grabs us by the scruff of the neck and puts us back on course, giving us Richards Butler’s dark cacophony of lamenting croons.
“Tiny Hands” is very American rock radio commerciality straight out of the gates. It’s not terribly unpleasant, just very questionable production. The production here is provided by former member Richard Fortus (G’N’R fame). Not slighting Fortus’s role here, though I am disappointed the band didn’t go with someone who potentially could of put them to work. Someone with a similar background such as Flood or Alan Moulder?
“Hide The Medicine”, a very dreamy number that builds and builds but ends very abruptly almost as if it had never even begun? “Turn Your Back On Me” has really grown on me after several listens, revealing itself as a subtle but epic number. Album finisher “Stars” rolls in. Another dreamy composition, building in parts, taking us to a collage of sounds, distorted guitars and synths melding together only to disappear bluntly. A surprising track to place at the end, not really giving much as a send off.
Overall the album is a bit of a mixed bag. Not a classic but certainly not disappointing. My lingering thoughts only that I hope they try their hand at another release sooner rather than later. Definitely seek out this new album but be prepared to take the rough with the smooth.
Buy ‘Made Of Rain’ Here
Author: Dan Kasm
https://www.youtube.com/watch?v=Ncz9b2dIHkU&feature=emb_logo

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

The Suicide Machines – ‘Revolution Spring’ (Fat Wreck Chords)

The Suicide Machines – ‘Revolution Spring’ (Fat Wreck Chords)

It was in 2006 that Detroit punks The Suicide Machines called it a day after 15 years and six albums. The break didn’t last too long because in 2009, the four-piece reconvened to play the occasional show and embarked on some even less frequent touring. There was no sign of new material on the horizon that is until now.

‘Revolution Spring’, their seventh album, and the first new material since 2005’s ‘War Profiteering Is Killing Us All’, was released March 27th.

What you get for your buck is plenty of bang with some Dropkick Murphy style lead vocals driving the rousing songs.  The band sound energised from the break.  you get the full force on opener ‘Bully In Blue’ but there’s plenty of skank on ‘Awkward Always’

There are sixteen songs on offer here and the band say they had thirty written so it’s not like they were short of inspiration.  They continue to dish up sharp sounds with an excellent production that shines on songs like ‘Babylon Of Ours’.

The songs deal with real issues to the band and whilst they’re at it they also have a far wider appeal. Police brutality, American Imperialism and class war are all covered so not such a superficial record. they don’t hold back with opinions either ‘Flint Hostage Crisis’ being a good case in point. Some heavy topics covered as well like attempted suicide but I have to say that the overriding feeling I get from listening to the record is how up and positive it sounds and out of bad situations comes a positivity.  ‘Trapped In A Bomb’ has a rollicking bass line rumbling away urging this song forward. Punk rock isn’t just for the kids and the older wiser guys can give the young pups a run for their money and this is proof.  A very American feel to the record when they cut loose like on ‘Detroit Is The New Miami’ they really hit their stride mixing some hardcore with their skank and not sounding out of place.

Old and new fans alike will find Revolution Spring an energetic anthemic, hardcore, ska-punk roots mixing pot and it’s good to have the band back making music that sounds fresh and vibrant and there’s a lot of music to get through here.

Get it Here

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Author: Dom Daley

The Damned – ‘Fiendish Shadows’ (Cleapatra Records)

The Damned – ‘Fiendish Shadows’ (Cleapatra Records)

This fully restored and expanded set from Woolwich Coronet This 2020 version has been newly remastered and includes several tracks that were left off the original release! Includes all-new artwork with full liner notes and a personal message from drummer Rat Scabies !

Available on both digipak CD and a 2LP vinyl set in your choice of either RED or BLUE vinyl! I had this when it first came out many moons ago and loved it.  It captured the band at the time perfectly.  whilst they might have been at a commercial career-high the studio albums were a bit beige around the time of MCA but live they still had it and that tour was a blaze of fun.

Expanded to nineteen tracks this is well worth tracking down and getting hold of from the opening keyboards of ‘Curtain Call’ they were on fire. The quality of the recording is good as well not overdubbed nor flat this is a picture of a band living it large and doing it well. As you would expect there is a decent smattering of tracks from ‘Phantasmagoria’ and ‘Shadow Of Love’ particularly sound great. As does the much-maligned ‘Grimly Fiendish’ that I quite enjoy hearing live these days and back in the day or the mid-’80s to be precise it was quite a departure. It seems odd to hear tracks like ‘There’ll Come A Day’ played so fast and full of energy. that tour with The Fuzztones was exceptional and I have such fond memories of Cardiff New Ocean Club.

‘Gun Fury’ makes me smile as does the version of ‘Lust For Life’ 1985 seems like yesterday but its also so long ago.  when the Damned could have been and should have been we are left nuggets of pure Gold like this recording to remind us that it doesn’t matter what happened commercially because they were always the best and still are capable of amazing shows and the odd record that ignites a fire inside my heart and it seems odd to hear them end the set with a one two of ‘Disco Man’ Val Doonigan style followed by a rip-roaring slash of ‘Born To Kill’  If only all bands were this good.  Don’t think twice just buy it and revel in it. Fiendishly good!

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Author: Dom Daley

Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

After many hints and teases Manic Street Preachers have confirmed the reissue of a deluxe edition of their 1993 second album ‘Gold Against The Soul’. Available as a 120 page  A4 book featuring unseen images from the bands’  longtime photographic collaborator Mitch Ikeda, many personally annotated by Nicky Wire and original typed and handwritten lyrics from the bands own archive. Pre-order now in CD Book, on Vinyl and in a bundle.

Pre Order Here

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