Spot Mcrackin – ‘New Tricks’ (Last Exit Records (Germany) LP, Mcrackins Records (Canada) CD, Memorable But Not Honorable (USA) Cassette, Little Lost Girl Media (USA) 8–Track)

Spot Mcrackin – ‘New Tricks’ (Last Exit Records (Germany) LP, Mcrackins Records (Canada) CD, Memorable But Not Honorable (USA) Cassette, Little Lost Girl Media (USA) 8–Track)

Spot looks like a little serious doggie on the cover of the album but I found after the first few play-throughs I wasn’t feeling the love and my heart was kinda serious/sad like the cover artwork – wondering why I wasn’t feeling it because it has all the hallmarks of music I listen to all the time.

Then, I found myself singing the hook of ‘Lianna’ without knowing the song or who it was by. You know the kind of brain fart moment when you’re humming a tune, no idea why that should pop into your head and you be damned if you know who it is. Then about a month ago I thought I have to give that Spot McRackin album a listen to so I can start fleshing out a review and hey presto, ‘Lianna’ Boom! there it is that’s the tune I’ve been singing half the bloody day. Damn man the earworm is burrowing into my brain and I can’t stop playing it. I love an album that does that kinda stupid shit that plays with your head. How did I ever doubt it? Was I even listening to this album maybe a gremlin got into my walkman and was playing a different album. Thank fuck I didn’t publish the review overnight with my initial thoughts. How stupid would I have looked (Quiet at the back, I’m not totally stupid)

On deeper investigation Spot has grabbed a few of his band mates and pals from The McRaklins, Trashcan Darlings and a couple of Dirtbag Republics for good measure. To be fair with it being a solo record Spot is all over this record – Singing, playing Drums, Guitar, Bass Guitar and everything in between. The new album was mixed by Norwegian engineer Maria Maxwell and mastered by Justin Perkins (Screeching Weasel/Replacements) and produced by Spot and Maxwell (of course) For those uninitiated Spot has been the drummin’ dog for Vancouver based pop-punkers Mcrackins since 1995 and moonlights as the singer for Rock and Rollers “Dirtbag Republic” since 2014.


Mcrackins have released almost 20 full-length records, appeared on the legendary BBC Jon Peel show, movies, commercials and most recently co-headlined Punk Rock Raduno 4 in Italy in 2019, which was released as a live album in 2021. If that cv isn’t enough Mcrackins will also be releasing their first new studio album in 10 years this coming winter.

‘YOYVR’ is powerpop punk rock that puts a smile on your face with a catchy melody and a story of tourlife with the boys in the band. It’s a little ray of sunshine from the Glammy guitar solo to that big chorus. It’s not a bazillion miles from something Michael Monroe would put on a record. What you get is ten songs that punch and windmill like the best pit in the best dive bar. It’s not rocket science here I’m sure Spot wouldn’t mind me saying so. ‘My Dingo Ate My BAby’ is a party in your speakers. With a sleazy riff and a case of beer and good times.

The album keeps rolling on with some good riffs and plenty of hooks like the late night sing-a-long of ‘Never Said I Loved You’ followed by the punky ‘Isolation Therapy’

Spot ups the ante with ‘Abandoned’ and goes for a Ramones style 1-2-3-4. It’s rapid bullshit-free punk rock and very nice it is too I might add. As much as I like a good pogo punk rock song I do have a soft spot for the Steve Jones riff of ‘Take Me For A Walk’. It’s got attitude and it’s got a dash of sleazy glam rock as well you can whisper it quietly but there is some ‘Talk Dirty To Me’ in there as well which is cool by me.

There are no soppy love songs or lighters in the air moments and neither is there anything way out of the ordinary like a techno number but what you do have is ten songs that offer a great time and confirmation that punk rock n roll is alive and well and this old dog can teach you new tricks – check this out and tell me I’m not barking mad! Howling good time to be had courtesy of Spot Mcrackin

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Author: Dom Daley

Crows – ‘Beware Believers’ (Bad Vibrations Records)

Crows – ‘Beware Believers’ (Bad Vibrations Records)

So, an old friend of mine (who has been working with, managing and writing about cool bands for the best part of three decades) said to me a few weeks back. “Come and see Crows in Cardiff, you’ll love them”.

“Nah – they’re too Indie for me” I quickly replied.

He even asked me again on the day of the gig, and yet again I replied in the negative.

Then, as I woke the morning after said gig, I found another friend had tagged me in a live video from the gig on social media, only for me to click on it and think.  “Hang on this is actually really really good.”

And, a few quick spins of ‘Beware Believers’ (the London band’s recently released second album) later, and boy oh boy am I regretting my decision.

Why all the fuss you might wonder? Well, this week whilst the world and its dog are all seemingly losing their shit over Wet leg’s new album, Crows have crept out of leftfield with next to no media fanfare and have released one of the albums of 2022.

Having witnessed the very good The Imbeciles supporting Killing Joke just a week or so earlier I cannot help but think the self-styled Lords of Chaos missed a trick not getting Crows out with them too, because whilst Killing Joke’s flame still burns very brightly indeed Crows are (to my ears at least) the voice of a whole new generation of disaffected UK music fans.

Take ‘Garden of England’ for example, this tune bristles with the spirit of post punk circa 1978-79 and even adds a soupcon of Mr Lydon (In the “England” phrasing) towards the end of the track – yet with its subject matter of a diseased country falling to rack and ruin it is very much 2022.

Elsewhere, the gargantuan ‘Only Time’, the Mark E Smith fronts IDLES drone of ‘Room 156’, the Division Of Laura Lee-like ‘Moderation’ and the truly sublime ‘The Servant’ are all standouts in an album jam packed full of them, and it’s only when the pace (and indeed intensity) drops for album closer ‘Sad Lad’ that I actually get a chance to reflect on the greatness on offer throughout all of the record’s eleven songs.

‘Beware Believers’ is an album I could easily write 10,000 words about, but the litmus test will be you going out and listening to it and loving it too. This is all killer no filler post-punk, and in a rock world seemingly crammed full of lip synching manufactured beige bollocks it’s bands like this that really keep old farts like me interested and excited about the UK scene.

Oh, and Andy, you were right all along… I do love them.

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Author: Johnny Hayward

Chip Z’Nuff – ‘Perfectly Imperfect’ (Frontiers/Avalon Japan)

Chip Z’Nuff – ‘Perfectly Imperfect’ (Frontiers/Avalon Japan)

The line-up history of Chicago Power Pop legends Enuff Z’Nuff is a complicated thing to follow. In a nutshell; After 15 years and 10 albums singer leaves band – guitarist (not original guitarist) becomes singer. Guitarist quits band – singer rejoins. Singer quits again – guitarist becomes singer again and subsequently quits…bassist and founding member becomes singer. In-between all this, add the usual band antics including drug addiction/stints in rehab, lawsuits, being shafted by record label/band members, and the tragic deaths of 2 band members. Are you still following?

Fair play, Chip Z’Nuff  is still holding the Enuff Z’Nuff flag flying high in 2022 and if he looks a bit disheveled in his trippy, hippy attire then, he has good reason to be. Not only is his third studio album as lead singer of Enuff Z’Nuff to be released later this year, he precedes that with this, his second solo album entitled ‘Perfectly Imperfect’.

You could be forgiven for being skeptical when Chip took over lead vocal duties from the estranged Donnie Vie. Yeah, the harmony vocals of Chip & Donnie were sublime, but could the bassist possibly pull it off without his longtime songwriting partner? Well, with 3 EZN albums under his diamond studded belt as lead singer and his second solo album on the shelves, it seems the rose-tinted bespectacled Chip is doing just fine on his own.

Of course, the ghost of his former singer is never far from any EZN related release and this album is no different. The first single ‘Heaven In A Bottle’ is an old Chip & Donnie tune that harks back to the early years of the band and has been doing the rounds in demo form for eons. It’s a typical, mid-paced ode to Cheap Trick, the sort of tune they could knock out in their sleep back in the day. Chip’s trippy, laid-back tones are more subdued compared to Donnie’s Lennon-like rasp, and that feel sets the pace for the whole album.

It’s impossible to review this album and not make comparisons to his past songwriting partner. And Chip doesn’t really help matters on ‘Doctor’ by pilfering the main hook from Donnie’s ‘Light Shine On’ from his 2014 release ‘The White Album’. But that said, the duo co-wrote so many tunes the original idea could be from either of them, I guess.

His reworking of ‘My Heroin’ (cunningly re-titled as ‘Heroin’ here) from EZN’s 1995 album ‘Tweaked’ is quite frankly the highlight of the album. I was skeptical on first listen, as its one of my favourite EZN tunes, but fair play, he somehow improves on it. The original was a bare bones recording, a masterpiece of the acoustic slide, harmonica and gut-wrenching sadness, an ode to the pitfalls of addiction. I didn’t think a full band version would improve it, but somehow, with just the addition of bass and drum tracks, it does.

Of the originals on offer, album opener ‘Welcome To The Party’ brings to mind ‘We’re Alright’ (again from ‘Tweaked’) and is a fine listen. It chugs along on the cool hook, again coming on like a long-lost Cheap Trick poptastic dittie that would not sound out of place on ‘Live at Budokan’. ‘I Still Hail Ya’ has a quirky vibe, it’s full of dreamy pop melodies and euphoric vocalisin’. And I’m still not sure if ‘3 Way’ is a driving song or a euphemism for kinky sex, but it’s one of the more upbeat Power Pop ditties on offer and I like it.

Still dressing like a late 60’s Carnaby Street reject at 53 years old, Chip Z’Nuff is flying high again with a selection of old melodies, reimaginings and new ideas.  But listening to ‘Perfectly Imperfect’, I’m left wondering why this album is released under the ‘solo’ moniker? It is no real departure from the signature Chip sound, but it is a departure from the Enuff Z’Nuff signature sound, as are the last 3 albums without his songwriting partner.

If you are an Enuff Z’Nuff fan you will love it I’m sure, but at just 9 songs, it speaks volumes to me that the strongest offerings are the last two on the album; the aforementioned ‘Heroin’, a song Chip wrote a lifetime ago, and a 48-year-old Mott The Hoople song called ‘Honaloochie Boogie’. Maybe it’s just a stop gap to keep the fanbase happy, or one of those ‘contractual obligation’ albums, but as the title suggests, this solo album feels a bit cobbled together, out of time and out of place. But you know what, I do quite like it.

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Author: Ben Hughes

Ginger Wildheart – New Album & Tour dates

Ginger Wildheart – New Album & Tour dates

On April 22nd Ginger Wildheart proudly releases The Pessimist’s Companion on Wicked Cool Records. ‘The Pessimist’s Companion‘,  featuring the single Stalemate, will be available both digitally and on CD.

“Fresh from a break up, a lonely alcoholic living in a caravan poured his feelings into a collection of songs, as dark as they are confessional. The landscape is more eclectic than its predecessor, Ghost In The Tanglewood, but cut from the same tree. 

The Pessimist’s Companion never got a proper commercial release, due to one thing or another, and was hastily mixed and compiled to meet its pre-order deadline. Rough, urgent and entirely in keeping with the subject matter.

The album presented here, still wrapped in stunning artwork by Chris Mars, features a brand new mix, a different running order and five extra songs recorded for the session but not finished in time. 

This is a deeply personal release for me. I hope you find something here to warm the colder nights alone.” – Ginger Wildheart.

This official15 track album released on Stevie Van Zandt’s Wicked Cool Records is an aural treat, with no calculated image or reliance on nostalgia. Ginger has created a truly honest album which is an all too rare commodity in today’s world.To celebrate the release of ‘The Pessimist’s Companion’ plays 7 UK shows, with Jon Poole, starting on Sunday 17th at The Cluny in Newcastle and concluding at the Lexington in London on Saturday 23rd.

The Pessimist’s Companion  is available to pre-order / pre- save here

Ginger Wildheart April UK shows

Sun 17th              Newcastle       Cluny

Tickets for Ginger Wildheart | TicketWeb – The Cluny in Newcastle upon Tyne , GB

Mon 18th          Edinburgh        Bannermans   SOLD OUT

Tue 19th           Leicester         Soundhouse

See Tickets – ‘Ginger Wildheart Acoustic’ Tickets | Tuesday, 19 Apr 2022 at 8:00 PM

Wed 20th         Cardiff             Clwb Ifor Bach

Tickets for Ginger Wildheart | TicketWeb – Clwb Ifor Bach in Cardiff, GB

Thu 21st           Blackpool        Waterloo Music Bar

Ginger Wildheart Acoustic Tickets | Thursday, 21 Apr 2022 at 8:00 PM (ents24.com)

Fri 22nd            Huddersfield    Parish

Ginger Wildheart Tickets | Friday, 22 Apr 2022 at 8:00 PM (ents24.com)

Sat 23rd           London                        Lexington

See Tickets – GINGER WILDHEART ACOUSTIC Tickets | Saturday, 23 Apr 2022 at 7:30 PM

Lux And Ivy Say Flip Your Top – ‘Sinners And Penguins Doing The San Francisco Twist’ (Cherry Red Records/Righteous Records)

Lux And Ivy Say Flip Your Top – ‘Sinners And Penguins Doing The San Francisco Twist’ (Cherry Red Records/Righteous Records)

Records from the beginning of popular music or modern popular music way back in time called the 1950s.  Pre Beatles and Stones, pre-Britpop, pre-grunge.  There was always a subculture going on and music was no different and it wouldn’t surprise me for one second that Lux and Ivy would have owned a fabulous and largely unknown record collection.  They were hardly easy listening themselves and they drew their songs out of the fringes of music be it Jazz, Blues or pop.  You just know it’ll be an interesting and informative ride.

This double CD also comes with a lavish booklet full of poptastic nuggets courtesy of MOJO magazines Davie Henderson.

There are fifty tracks on offer and everyone has the potential to blow minds it’s that far out and lyrically messed up for these modern times(I can picture Lux smirking down on us all).  The fact there are two tracks with Tarzan in the title tells you something but as we swing from Jazzy RnR to big ensembles of bloated balladeering to weird Rock n Roll this is something to get the party started for sure.

A lot of music for your hard earned and a CD that will certainly have the guests impressed at your vast taste either that or they’ll be running to the hills and worrying about your eclectic collection.

The early years rama lama Rock n Roll is heavily represented here like the Charms.  If you’re familiar with the bop n roll of Chris Cerf then I bow down to your knowledge. Imagine a song called ‘Too Big For Her Bikini’ coming out today.  The insta tictokkers would have a lynching squad firing up the torches. To be fair Slim Marbles isn’t just a great name and how didn’t ‘The Switch’ catch on?

Anyway, fill yer boots and your speakers with a hefty slab of good time Rock n Roll. It’ll make you smile and fill your ears with top tunes in a world that gets madder by the day this will cleanse your soul.

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Author: Dom Daley

MARC VALENTINE -‘Last Train Tonight’

MARC VALENTINE -‘Last Train Tonight’

‘Last Train Tonight’ is the debut solo single from UK songwriter Marc Valentine. Released on 1 April through his own Arcane Wires label, it’s taken from his forthcoming album Future Obscure.

As frontman of cult British power-pop outfit  Last Great Dreamers, Valentine has brought sparkle to venues and turntables alike with his distinctive vocals, wry charm and songbook of secret classics. Now, with his favourite guitar in tow, he’s heading out on a solo adventure, loading his flight case with a fresh set of tunes, and polishing the trademark twinkle in his eye.

Says Marc: “A twist of fate and the things we can’t control. Taking the wrong way home and crossing paths with a bunch of midnight meatheads who can’t comprehend a guy in eyeliner. Demolition smiles and grunting fists, as you fall to the ground with the smell of blood, sweat, piss and beer in your nostrils. I’ve been there once or twice, but somehow always managed to make it home.”

Debut solo album Future Obscure sees Valentine building on his past while expanding his sonic palette, to craft a collection of should-be hits – 7-inch-shaped songs that move both body and mind. Recorded and produced by Dave Draper (Wildhearts, Professionals), and featuring collaborations with Wreckless Eric and The Boys’ Matt Dangerfield, this is a reflective, sometimes defiant album in the golden-era tradition – a pop record from the heart, packed with songs to holler, heal and hold.

‘Last Train Tonight’ is available to presave through all the usual platforms here 

https://www.facebook.com/marcvalentinemusicartist

https://www.instagram.com/marcvalentine45/

The Chats, Chubby & The Gang, Dennis Cometti – Bristol O2 -Monday 28.03.22

The Chats, Chubby & The Gang, Dennis Cometti – Bristol O2 -Monday 28.03.22


The much-anticipated trip over the bridge to watch The Chats at the Bristol O2 had finally come, after being postponed a number of times due to COVID the place was finally packed full of mullets and Aussie brilliance.

The First support band Dennis Cometti (named after a retired sports commentator) started the carnage as a people crowd surfed their way to the front to ‘on the sauce’ (which is still on repeat in my head) A perfect setup for the evening to come.

After a stop at the bar, Londoners ‘Chubby & The Gang’ send the O2 mental with their souped-up UK HC. It seemed to go by in a flash of strobe lighting, dry ice and dimly lit red lights. With a mix of songs from both albums, Chubby led his band through a pulverising set that fitted in rather well with tonights up for it crowd. Chubby seemed really pumped and up for it feeding off the pit and onto the O2’s large stage, rather than some grubby little club where this style usually lives and thrives. Tonight Chubby & The Gang brought it on to Bristol and went down a treat.

Before placing ourselves out of the bear pit that is the front stalls and go for the safer option and prime spot on the balcony the lights dimmed and out they flew. In an absolute blur of limbs, The Chats hit the stage hard and the only thing moving faster than the songs was the lighting – strobing like crazy sending the pit wilder than a dozen boxing kangaroos. Everything was played at double, nah triple, nah quadruple speed, It seemed like a Chats classics masterclass. Favourites ‘nambored’, ‘temperature’ and ‘mum stole my darts’ sent the Kungfu kicking kids at the front absolutely mental.

With barely time to take a breathe Mr. Sandwith took a trip on some of the multiple liquids flung towards the stage and lay in the pool of beer that had gathered, in excitement he returned to his feet and smashed out a breakneck ‘smoko’ and their newest song, ‘struck by lightning’ and then it seemed to come to a crashing halt. Equipment was broken and chaos was all around which seems like the best way for a Chats show to go.

What felt like a prime frat house punk rock party Australian style – the set length was perfect it was all over and leaving the salivating mob with ‘Pub feed’ was about right. The crowd was duly told to fuck off and the band legged it. Soaked in beers and a cheerio-o their work tonight was done, Bristol was left to come down from The Chats tornado that just tore the O2 a new one. Until next time from a very, very sweaty O2 g’day and goodnight you bonza bunch of noisy swines.

Killing Joke/Imbeciles- Cardiff Tram shed 28/3/22

Killing Joke/Imbeciles- Cardiff Tram shed 28/3/22

As we move further into the new normal and as restrictions drop away and we begin the learning process of living in a “post pandemic world” as things move towards becoming endemic, live music has a huge part to play in the healing process, and re-invigorate our thoughts, attitudes and ability to function in a Tory led new world order. Thinking about new world order takes my thought straight to killing joke a band that have constantly pushed against the barriers of genre, attitude and predictability.

 I mean as scribes we constantly bounce our thoughts around look for influences get hooks to our writing and try and introduce the reader to band’s they might like based on their current listening, now ask yourself two questions

  1. Who are the influences that have helped build the Killing Joke sound?
  2. Who do Killing Joke sound like?

The answer to the first is there aren’t any, Killing Joke are constantly shifting the boundaries of music, they draw their power and intensity from fantastic musicians exploring the scope of their instruments with a frontman looking both inwards and  outwards from an almost visionary perspective pulling the threads together.

The answer to the second? No-One !! Killing Joke stand out on their own an enigma pulled together by an enigmatic frontman, present post punk/post modernist future reaching music, moving ever outwards and dictating where music can go rather than following the masses.

Pulling things back there is a support tonight Brooklyn based anglo-American ‘The Imbeciles’

The Imbeciles are: Butch Dante (guitar and backing vocals), Ben Rice (guitars, lap steel, backing vocals), John Kent (lead vocals, bass guitar, backing vocals, drums, percussion), Joshua Lattanzi (guitars and backing vocals), Charlie Culbert (drums).

Youth played bass guitar and co-write the songs on their new album ‘Imbelica’.

Now I have to hold my hands up I didn’t dive in and research them prior through choice, sometimes its worth making your mind up raw without prior influence in the live setting and myself alongside the crowd  really took to the band again not really a band you could pin down to a specific genre, at times hinting at REM, at times drawing on the grunge attitude Nirvana in particular, but staying in the Seattle sound with the Meat puppets and Soundgarden again coming through and all underpinned with almost a classic rock sound. The new LP will be well worth exploring and I would urge people to check them out live.

In all the times I’ve seen Killing Joke alongside the H Bomb’s experiences who provided tonight’s photos well into double figures between us ‘Love like Blood’ has only been  experienced once and never by yours truly and they only opened with it tonight!!! Fair play and then to follow it with ‘Wardance‘ and ‘The Fall Of Because’ I was a happy man, in fact the whole gig was both intense and relentless, presided over by a frontman on top form, engaging and driven, the intensity just continued to ramp up as the band locked in and by the time we’d gone through ‘Money is Not Our God’ and ‘This World Hell’ we were on fire and then ‘Bloodsport’ just tore the roof off. There were so many highlights until we got to the end of the main set with ‘The Wait’ and ‘Pssyche’.

Time to take a breath and we’re back with Requiem dedicated to Taylor Hawkins, ‘I am the Virus’ and ‘Pandemonium’.

So returning to my initial thoughts Killing Joke are still bang on point as relevant today as they were in the beginning moving and dictating what music should sound like tearing their own path Brutal, intense, challenging and forward thinking as all music should be standing alone an Enigma but one that needs to be experienced by one and all.  

Author: Nev Brooks pics Johnny Hayward

Asian Dub Foundation – ‘Enemy OF The Enemy’ / ‘Tank’ (X-Ray Production)

Asian Dub Foundation – ‘Enemy OF The Enemy’ / ‘Tank’ (X-Ray Production)

Politically charged upstarts and agitators Asian Dub Foundation first showed up on my radar in the late 90s when I saw one of their videos and whilst not a huge fan of any of the genres they touched upon the whole package intrigued me and collectively it struck a chord – lyrics, the hard rock, the ragga rhymes and that trip-hop all mixed with an Indian flavour was certainly something I’d never heard before or since. although Fun Da Mental and ‘Dog Tribe’ was a genre highlight and possible pinacle but thats for another review.

‘Enemy Of The Enemy’ is an album that crosses the path of Rage Against The Machine, Apollo 440 with a bit of Massive Attack The openers, ‘Fortress Europe’ and ‘Rise To The Challenge’ bring the energy and fist-pumping rage ADF seem to have going on. Whilst ‘La Haine’ that trip-hop Massive Attack vibe. it also had fellow rager and politically charged Sinead O’Connor on ‘1000 Mirrors’

This new version features a trio of bonus cuts including one non-album cut of ‘Illegal Minds’ feat Mark Stewart.

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Fresh from collaborating on an opera about Colonel Gadaffi (they did) alongside the English National Opera, The Asian Dub Foundation followed up ‘Enemy Of My Enemy’ with 2005s ‘Tank’ another altogether darker more menacing opus (if that’s even possible).

Asian Dub Foundation‘s certainly turned up the darkness on this album easy listening it isn’t, uncomfortable listening (if you happened to be a fan of George W Bush) – sure. Right from the off the opening riff of ‘Flyover’, a real crossover of ragga vocals and wild drums, it’s got more than a whiff of Killing Joke going on for good measure. in as much as its political – interesting and innovative.

ADF makes no apologies for their musical stance and being one of the most political music acts around they certainly did challenge the listener and the establishment. ‘Tank’ is their fifth album and by now had really found themselves and where they fitted in or where they didn’t fit in more like. Probably culminating in their most confident record thus far. Even if you didn’t want to engage on a political level the energy they create is intense and powerful something you can’t help but be impressed with. Hell, these are the guys who’ve collaborated with the one and only Chuck D what’s not to like?

They target Home Secretaries, on ‘Round Up’ Presidents on ‘Oil’ they collaborate with Mad Mike on ‘Powerlines’ and also include a collaboration with Perry Farrell on ‘Easy Man’ It’s an intense album named after the American soldier’s vehicle of choice as they blasted Metal through speakers as they drove through Iraq. The dub bass is infectious and the arrangements captivating.

In a world that just keeps on giving these albums are as relevant now as they were almost twenty years ago when they first came out. Have we learned anything? If anything politicians are the people who just keep giving and serving themselves up on a silver platter for bands as articulate as ADF. Not an album I want to listen to every day that would make me sad but an album I’m glad I have in my collection and can dip into every now and then when I want to rage against the machine.

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