HEAVEN & HELL – BREAKING OUT OF HEAVEN 2007-2009

HEAVEN & HELL – BREAKING OUT OF HEAVEN 2007-2009

RETROSPECTIVE CELEBRATES DIO’S THIRD ACT WITH MEMBERS OF BLACK SABBATH ON 4CD/BLU-RAY AND 7LP BOXED SETS

AVAILABLE MARCH 27

INCLUDES THE DEVIL YOU KNOW, LIVE FROM RADIO CITY MUSIC HALL, AND NEON KNIGHTS: 30 YEARS OF HEAVEN & HELL – LIVE AT WACKEN

ORDER NOW

Captured during their historic 2007 reunion, this definitive live version of “The Mob Rules” showcases the relentless power and new vigour of the Heaven & Hell lineup. While the 1981 original signalled a darker turn for the band, this Radio City Music Hall performance elevates the track with a precise and massive sonic weight that only decades of chemistry could produce. Watch the HD-upscaled video of “The Mob Rules” (Live from Radio City Music Hall) today.

Breaking Out Of Heaven 2007–2009, a new collection focusing on the final chapter of Ronnie James Dio’s celebrated tenure with members of Black Sabbath. Reuniting with Tony Iommi, Geezer Butler, and Vinny Appice under the name Heaven & Hell, the band returned to the stage and studio decades after their original run for an unexpected second act.

BMG presents Breaking Out Of Heaven 2007–2009, a new collection focusing on the final chapter of Ronnie James Dio’s celebrated tenure with members of Black Sabbath. Reuniting with Tony Iommi, Geezer Butler, and Vinny Appice under the name Heaven & Hell, the band returned to the stage and studio decades after their original run for an unexpected second act.

Breaking Out Of Heaven 2007–2009 will be available March 27 as 7LP and 4CD/Blu-ray boxed sets. Both editions include an illustrated book with new liner notes by Hugh Gilmour, along with a replica tour book and poster. Order Now.

The collection marks the first time the complete Live From Radio City Music Hall performance appears on vinyl, and features eight tracks making their vinyl debut, including studio recordings from The Dio Years and select live performances. The Blu-ray expands the set with video from Live From Radio City Music Hall and Neon Nights: 30 Years Of Heaven & Hell – Live at Wacken, plus band interviews.

The set follows the band’s reunion run, beginning with their triumphant 2007 New York performance, Live From Radio City Music Hall, followed by the Top 10 studio album The Devil You Know in 2009, and the live album Neon Nights: 30 Years Of Heaven & Hell – Live at Wacken, recorded later that year on tour in Germany.

Gogol Bordello – ‘We Mean It, Man!’ (Casa Gogol)

Gogol Bordello – ‘We Mean It, Man!’ (Casa Gogol)

Led by Ukrainian-born singer/songwriter Eugene Hütz, gypsy punk collective Gogol Bordello have been thrilling crowds on the world’s stages since the turn of the century with their high-energy, theatrical live shows and political manifestos. Here, they follow up their defiant 2022 album ‘Solidaritine’ with the more optimistic new long player ‘We Mean It, Man!’, bringing a new sound with the help of Nick Launay & Adam Greenspan, who have produced such luminaries as Nick Cave, Amyl & The Sniffers and Idles.

First impressions stick like glue, and this opus exudes cool from every pore. With its street art-inspired album cover, assertive title, and impressive opening track, ‘We Mean It, Man!’ is an album that shouts its arrival from the streets with a clenched fist. The opening title track is a definite call to arms. Musical carnage where punk riffage and tribal beats collide with vocoder vocals and crazy sax. A killer refrain makes it an intense, instant and memorable opener. Gogol Bordello sure do mean it…man!

Next, ‘Life Is Possible Again’ brings it down with NIN electronica, euro pop vibes and optimistic lyrical suss. Then, ‘No Time For Idiots’ blends traditional rustic instrumentation with modern production values, the verses sound like early Hanoi Rocks meets The Clash and build to a catchy chorus that seizes the moment and triumphs.

Of course, Eugene Hütz is at his best when he is spouting political diatribes and the band is going off on one.  Cue ‘Hate Liquidator’; a song that follows a familiar Gogol shaped path with disco beats, gang vocals and gypsy punk-tinged goodness. Its sure to be a live favourite, this is glorious stuff indeed.

While the ghosts of The Clash and The Pogues are always prevalent, there is a very definite European vibe to Gogol Bordello’s sound that makes them hard to pigeonhole into one particular genre. Take the gloriously upbeat ‘From Boyarka To Boyaca’ featuring the artist Puzzled Panther. What even is it? It could be the sound of a Tarantino crime thriller set in a Spanish tapas bar, or maybe it’s the sound of The Clash if Strummer & Co had been brought up on the Eastern Bloc rather than the East End? Whatever it is, it works.

Euro pop is prevalent on the likes of ‘Ignition’ where they mix up killer melodies with accordion, fiddle, big beats and thumping bass. Elsewhere, ‘Crayons’ amps up the guitars to 11 with frantic indie beats and an attitude to match.

The closing ‘Solidarity’ is an emphatic love letter to the Ukrainian people from one of their own, delivered with the passion and sincerity you come to expect from our ringleader.

On ‘We Mean It, Man!’, Gogol Bordello continue to do what they do best. I feel their brand of frenetic, gypsy punk is best experienced in a live setting, or at least with a glass of something strong in your hand. But the production team have managed to capture the live feel of this band well. Yes, Hütz and his band preach a serious message, and in these troubled time,s we need protest songs more than ever, but Gogol Bordello are also here to have a good time and ‘We Mean It, Man!’ is a testament to that.

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Author: Ben Hughes

Thisisevilpete – ‘zombiesongs pt1’ (Self Release)

Thisisevilpete – ‘zombiesongs pt1’ (Self Release)

An album that’s been a labour of love for way too long finally sees the light of day as South Wales one-man band Peter Squire finally completes his old school thrash epic, all about killing zombies and delivering swashbuckling old school thrash riffs.

Pete makes no excuses for his songwriting and love of all things Frash. He cuts his cloth trading riffs with the Kerry King, Jeff Hanneman, Blake Ibanez, Alex Skolnick, Kirk Hammett and Gary Holts of the world, and to be fair, his delivery and attention to detail is immaculate. Pete even took vocal lessons so he could do the best he could for this album, and did all the programming himself as well as produce and master.

Sometimes embracing the cliche is what makes something authentic and cool, and not trying to reinvent the wheel is exactly what’s needed. Pete is happy to announce that he wanted to write and record an album of old school thrash about slaying zombies and shit, and to be fair its exactly what he’s delivered.

The album, of course, opens with a shallow grave being dug whilst he noodles and picks his way through the early to mid 80s before all Hell breaks loose and the thrash begins. ‘No Known Cause Or Cure’ is early-day Metallica in the delivery of the vocals. Circle pits are compulsory accessories while listening to this and or banging that head that hasn’t banged for some time.

What you get is ten sets of really, really dumb lyrics (Pete’s words, not mine) written over a couple of nights, then recorded the music to complement and somehow managed to fit all the words on
all the music. Oh, apart from the obligatory one instrumental, which has hallmark Thrash time changes galore. It’s all wrapped in dark artwork that looks like it was scratched on a prison wall, only using the overgrown nails on his feet (probably due to him always having a guitar in his hands, arpeggioing away for all his life’s worth before the zombies overwhelm him.

This works best when the Frash intensifies ‘Dead Eyes Don’t Remember’, ‘Field Of Tripwire’, but the widescreen ‘Go For The Head’ could and should be used in the next Netflix Zombie killing series, ‘Cutting It Off Won’t Help’ (complete with Hanneman like dive bombs) could be the themetune for the series on John Wayne Bobbit, perfect fodder for Zombie/Gore fans.

To be fair to Pete, his vision has been realised, and he’s absolutely nailed his MO and his passion and love for the origins of a mighty genre are here for all to hear. Go hit that link and sample some of what’s spilling out of EvilPetes head, but remember, don’t have nightmares. He’s a good boy, honest.

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The Casualties Announce New Album ‘Detonate’

The Casualties Announce New Album ‘Detonate’

First Album In 8 Years Out March 27th via Hellcat Records

European Festival Tour This Summer

punk stalwarts The Casualties announce ‘Detonate’, their first new album in eight years, out digitally on March 27th via Hellcat Records and on vinyl/CD on July 17th. On the new record, David Rodriguez (vocals), Marc “Meggers” Eggers (drums), Jake Kolatis (guitar) and Doug Wellmon (bass), reignite their rage and cement their status as one of punk’s most enduring and uncompromising acts.

The Casualties also share the lyric video to the blistering title track, a scathing hardcore-punk blast of fury and frustration, suggesting we should blow it all up and start anew. “It stems from being overloaded,” Meggerssays. “You feel like your head is about to explode, which I think is what everybody is feeling these days. You’re pounced on day by day with terrible news and social media, and you just feel like you’re going to snap.”

Pre-Order & Pre-Save The ‘Detonate’ Album Here

Politics. Hatred. Endless war. These are just a few of the reasons why the title of The Casualties’ new album is Detonate. Instead of tearing each other apart, The Casualties punch back at authorities and systems that seek to divide, taking the chance to promote unity and camaraderie to all who feel alienated by the cruel state of the world.

Kolatis adds, “There are continuous wars and internal political battles. Everybody’s tearing each other apart. Detonate is saying we’re tired of all this division. With this record, we have a chance to say something and promote some type of unity.”

Detonate is the second chapter in a new epoch for The Casualties. As their second album with Rodriguez at the mic, it solidifies the vocalist’s partnership with Meggers and Kolatis. “It’s like a new era for the band,” Meggers says. “It solidifies that Dave is here to stay.”

As the follow-up to 2018’s Written in Blood and their first record for Hellcat Records — the Epitaph subsidiary curated by Tim Armstrong of Rancid — Detonate sees this new version of The Casualties locking into place. “We were in the studio for Written in Blood about eight months after I joined,” Rodriguez says. “With this new record, we really grew together. For me, it’s the proud moment where we clicked the three Legos together.”

Amplifying the punk ethos that The Casualties have embodied since 1990, Detonate is a powerful installment in the band’s rich history as a voice for the voiceless. “I want people to feel empowered when they hear this record,” Rodriguez says. “I want them to feel like they have a voice. I want them to feel like they’re with like-minded people when they come to a Casualties show. They can be themselves and not watch the show but be part of the show—scream with us, jump off the stage. We want them to feel like they’re part of something.

The Casualties Tour Dates – Tickets On Sale HERE

Mar 29 – Scarborough, UK – Scarborough Punk Festival
Jun 6 – Wels, Austria – Sbäm Fest
Jun 12 – Hagen, Germany – Torgau Ain’t Like You Festival
Jun 20 – Doneztebe, Spain – Ehuneko Bat
Jun 26 – Rennes, FR – Superbowl of Hardcore
Jun 27 – Münster, Germany – Vainstream Rockfest
Jun 28 – Tábor, Czechia – Mighty Sounds Festival
July 10- Prölsdorf, Germany – Krach Am Bach
Jul 18 – Rowy, Poland – Festiwal Urwanych Filmów
Jul 25 – Hohenems, Austria – Speedfest
Jul 27 – Brasov, Romania – Rockstadt Extreme
Jul 30 – Argenta, Italy – DLB Festival
Jul 31 – Sant-maurice-de-gaurdans, FR – Sylak Open Air
Aug 6 – Jaroměř, Czech Republic – Brutal Assault
Aug 7 – Ancora, Portugal – Praia Sonic Blast
Aug 8 – Duffel, Belgium – Brakrock
Aug 11 – Tolmin, Slovenia – Punk Rock Holiday
Aug 15 – Carhaix-plouguer, FR – Motocultor Festival
Aug 20 – Loburg, DE – Spirit Festival
Aug 22 – Oostkamp, Belgium – Parkpop

The Casualties Online
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Social Distortion New Album 8th May

Social Distortion New Album 8th May

‘BORN TO KILL’ 

NEW ALBUM OUT 8 MAY

 EUROPEAN TOUR THIS SUMMER 

INCLUDING DOWNLOAD FESTIVAL AND LONDON HEADLINE SHOW 

Orange County’s finest are back with a vengeance: Social Distortion’s long-awaited eighth album, ‘Born To Kill,’ will be released on 8 May 2026 via Epitaph Records. The hard-charging title track that’s been lighting up crowds at the band’s shows for the last several months is out now. Pre-order the new album here.

LISTEN HERE

‘Born To Kill’ is more than the conclusion to a 15-year wait between Social Distortion albums, it’s a revelation: 11 songs of pure, unadulterated rock ’n’ roll fury, joy and catharsis, all imbued with the signature blend of defiance and world-weariness that has made founder Mike Ness a poet and sage to the dispossessed for more than 40 years. 

The first Social Distortion album since Ness’ recovery from a bout with cancer, ‘Born To Kill’ brims with aggressive optimism. The album wastes no time letting the listener know where its heart is, with its title track and mission statement dropping nods to Lou Reed (“Rock ’n’ Roll Animal gonna come your way!”) and Iggy and the Stooges (“The agenda is yeah to Search and Destroy”) and an homage to David Bowie (“It’s a Rock ’n’ Roll Suicide”) following a few songs later on “Partners In Crime.” This is a man, a band and a record that wear their influences proudly while creating timeless anthems and ballads that both chart Social Distortion’s path forward and celebrate its storied past: “Tonight” and “The Way Things Were” are emotionally charged reminiscences in the vein of classics like “Story of My Life” from the band’s eponymous 1990 breakthrough and “I Was Wrong” from 1996’s White Light, White Heat, White Trash, the latter containing a potent distillation of the Social D ethos: “I wrote a song with a stolen riff / If you ain’t got a song you ain’t got shit.” 

Co-produced by Ness and Dave Sardy, and featuring guest appearances from Benmont Tench of Tom Petty and the Heartbreakers and Lucinda Williams and collaborative cover art by Ness and Shepard Fairey, ‘Born To Kill’ is the latest installment in a remarkable catalog that spans nearly three generations, including Mommy’s Little Monster (1983), Prison Bound (1988), the RIAA gold-certified Social Distortion (1990) and Somewhere Between Heaven and Hell (1992), White Light, White Heat, White Trash (1996), Sex, Love and Rock ’n’ Roll (2004), and Hard Times and Nursery Rhymes (2011). Social Distortion will support Born To Kill with an extensive European tour this Summer, including two UK dates at Download Festival and London’s Koko. The tour will also cover Norway, Sweden, Germany, Czech Republic, Austria, France, Spain, Italy, Switzerland, Denmark, and Benelux.

03 June – Sentrum Scene – Oslo, Norway
04 June – Sweden Rock – Solvesborg, Sweden
06 June – Rock Im Park – Nürnberg, Germany
07 June – Rock Am Ring – Nurburg, Germany
09 June – Columbiahalle – Berlin, Germany
11 June – Rock For People – Hradec Králové, Czech Republic
12 June – Nova Rock Festival – Nickelsdorf, Austria
14 June – Download Festival – Donington, United Kingdom
16 June – Koko – London, United Kingdom
18 June – Hellfest – Clisson, France
20 June – Azkena Rock Festival – Vitoria-Gasteiz, Spain
23 June – Carroponte – Milan, Italy
24 June – Halle 622 – Zurich, Switzerland
26 June – Vainstream – Munster, Germany
27 June – Copenhell – Copenhagen, Denmark
29 June – Amsterdamse Bos Theatre – Amsterdam, Netherlands
30 June – Docks – Hamburg, Germany
02 July – Les Eurockéennes – Belfort, France
03 July – Rock Werchter – Werchter, Belgium
04 July – Rudolf-Harbig-Stadion – Dresden, Germany

TICKETS AVAILABLE HERE 

PRE-ORDER/PRE-SAVE ‘BORN TO KILL’ HERE

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Bruise Control – ‘Bruise Control’ (Republic Of Music)

Bruise Control – ‘Bruise Control’ (Republic Of Music)

Always a pleasure and never a chore to hear bands break through the underground and continue to grow organically and get better and better. One of those bands has to be Bruise Control from the North West of England. This self-titled EP is a jagged, physical, Emotional document of modern punk rock and counter culture born of who and what they are and channelled perfectly through the music and songwriting. It can be exhilarating, joyful and angry all at the same time, but above all its the quality of the songs that these guys create that carries them through.

Bruise Control explore give zero fucks and conveys perfectly their feelings on what’s going on in the world they live in, which translates well across many cities, countries and no doubt continents. In a world where everything is for sale at a price that seems relatively cheap, and what you get for your small investment is a band who are currently on fire and making some of the best music around, that is a fact.

Opener ‘Be Like You‘ is the perfect opener, full of excitement, no easing you in more, blowing off steam with your mates and kicking the living shit out of your speakers like it’s going out of fashion. The song mourns the erosion of creative communities as cities are stripped of character and sold to the highest bidder, driven by explosive rhythms and biting urgency. A super strong opener that sets the tone perfectly.

Not wanting to be a Debbie Downer, but the sense of hopelessness in some of the subject matter is juxtaposed with the brightness of the energy spilling out of the instruments being hit. ‘Gone To Ground’, ‘If You’re Not Mine’, and ‘Spinners Mill’ channel the grinding frustration of daily life, rising rents, stretched relationships, emotional labour and the quiet guilt of struggling to stay afloat while wanting to help others. The energy and excitement captured cannot be overstated. The band are in the moment and on superb form.

The Eps final offering, ‘Jumping Ship’, feels like the release of all that pent up anxst and emotion, and the fact you’re playing this is that very release from real life you need. Recharge and go again whilst disappearing in some awesome music that we all need in life and something very hard for bands to capture, but Bruise Control seem to have hit the pocket where they just get ‘it’ and are that very release with the tunes to back it all up. Live, they manage to deliver the energy these songs demand. It can be brutal, physical and relentless at times, but boy does it feel good and perfectly displayed on side C with th epair of live tracks.

Get hold of this before they’re all gone, and you have to sell a kidney to pick one up and catch them live if you can. Oh, and the vinyl has a whopping extra five songs on side C (yeah, I know side B for Bruise and C for Control, do keep up). Less “produced”, it’s more of the same, like standing in on a live rehersal ‘Nostalgia’ is like a barking rabid dog. A couple of live tracks that give you a flavour of what they deliver live. ‘Bruise Control’ and ‘Dead On Arrival’ (both off their first EP), No More’ sounds like a row in a kebab shop at midnight, and those guitars sound sharp as fuck, it’s all about the energy and pace that delivers in spades. Then we get ‘Left Behind’, the single version, not the EP version off side B, to see us out for what might just be the independent release of the year right here, right now. Bruise Control! Bosh! ave it, buy or be left behind.

Buy Here

Dinked edition with signed poster from here

Michael Monroe – ‘Outerstellar’ (SILVER LINING MUSIC)

Michael Monroe – ‘Outerstellar’ (SILVER LINING MUSIC)

The Monroes are finally back! It’s been nearly 4 years since Michael Monroe’s last studio album, ‘I Live Too Fast To Die Young’, and while the man and his longtime cohorts have toured extensively in that time, it feels like some new music is well overdue, and I, for one, have certainly been missing their brand of high-energy rock n’ roll.

Now, while I feel that aforementioned last album certainly wasn’t his best, it sure had some fine stand-out moments, and I’m glad to report that their brand-new long player, ‘Outerstellar,’ certainly outshines its predecessor and holds a few surprises for those who are expecting more of the same as before. So, without further ado, let’s dig in and see what Monroe, Yaffa, Conte, Jones & Rockfist have in store for us this time around.

Opener and first single ‘Rockin Horse’ is a punked-up, defiant middle finger to the critics and the naysayers, job done. The following ‘Shinola’ rocks to a similar beat, although sounding more instant, more euphoric. The critics will scoff and call them “generic”, but hey, this band are just getting started.

On the first listen, its third track, ‘Black Cadillac’, where things really get tasty. With cool dynamics, NYC-style gang vocals and an uber cool riff, it’s got full-on Hanoi meets Demolition 23 vibes going on, and that, my friends, is exactly what we need from Michael Monroe in 2026. A song that truly makes you take heed and get excited for what else they have in store.

And there is a 1-2-3 of killer tunes on offer to get excited about; ‘Newtro Bombs’ is a frantic blast of punk energy with a Clash-inspired chorus and a nifty little, almost dub breakdown (Sami Yaffa’s influence no doubt). Next up, ‘Disconnected’ is the big, anthemic celebration of live rock n’ roll music, and then the infectious ‘Precious’ has a sugar-coated chorus that will embed in your subconscious after the first play and refuse to leave. Add to that a schizophrenic harmonica break courtesy of the main man, and you have a winner on yer hands.

Elsewhere, the radio-friendly ‘When The Apocalypse Comes’ has that unmistakable Monroe drawl, a chorus that is pure ear candy and killer guitars from Steve Conte & Rich Jones. A word on the production here, while I remember, as the whole album sounds crisp, clear and punchy as fuck, job well done.

They do take things down a notch and get reflective with Lords vibes on ‘Painless’, and the emotive, acoustic-led ‘Glitter Dust’ nods to those quirky Hanoi ballads. Both sound like they will be growers.

Album closer ‘One More Sunrise’ is the curveball many would never expect. An epic trip of a song clocking in at over 7 and a half minutes, it’s a brave attempt to think outside the box, and you know what?… I think it actually pays off!  Starting off like a ‘Nights Are So Long’ outtake, it wastes no time before kicking into a multi-part rocker that takes the listener on a Michael Monroe road trip you never knew you needed. It’s too much to take in with only a couple of listens, but let’s just say if you want an emotive sax solo, a piano breakdown with a killer chorus refrain to take you back to the glory days, then look no further. The Monroes are here to bring cinematic to those who inhabited (or still inhabit) the alleyways and sleazy bars at night, with just a bottle of Jack and a greasy eyeliner pencil for company. Insane, in a very good way.

‘Outerstellar’, the difficult 13th studio album from Michael Monroe, was apparently a labour of love, with some songs dating back to 2018, yet it sounds like it was a fucking breeze from start to finish! It feels like the band has pulled out all the stops here to prove this new album is more than just ‘another Michael Monroe record’. And I feel they have succeeded way beyond their expectations. The live energy has been captured to perfection with a top-notch production to boot. The band are at the top of their game, not only as players but as writers too, and it feels like ‘Outerstellar’ is the make-or-break album this band needed to make in 2026. Essential listening for those who like to rock like fuck!

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Author: Ben Hughes

Jay Buchanan – ‘Weapons Of Beauty’ ( Sacred Tongue Recordings)

Jay Buchanan – ‘Weapons Of Beauty’ ( Sacred Tongue Recordings)

Californian singer/songwriter Jay Buchanan retreated to a windowless underground bunker in the Mojave Desert to find inspiration for his first solo album. In isolation, with abandoned gold mines, rivers of sand and just coyotes for company, the Rival Sons frontman found his mojo, sought retribution and wrote a whole album’s worth of material which now comes to fruition in the form of ‘Weapons Of Beauty’.

Produced by long-time collaborator Dave Cobb at his studio in Savannah, Georgia, and featuring a host of Nashville’s finest musicians, ‘Weapons Of Beauty’ is a deeply personal album. The sparse instrumentation, clever use of space and depth of emotion of the melancholy opener ‘Caroline’ sets the scene perfectly. With a heartachingly haunting melody, Jay paints a picture of the emotion of love and loss with a wide-angle lens. This vibe continues on ‘High and Lonesome’ with stunning vocals backed by a gentle beat, slide guitar and piano. The players give just enough to accentuate, not enough to overpower the vocal.

Only on track 3 do things take a sudden upshift. Second single ‘True Black’ is a stunning song, make no mistake, a righteous sermon that embeds itself on first play. The overly familiar gospel-tinged chorus will leave you wondering how you lived your life without it such is the power.

There’s a cinematic feel to the Americana-tinged songs on offer, and the great songwriting and emotive playing will leave the listener enraptured and yearning for more. The stark feeling of isolation and introspection has been magically captured by Cobb, and brings to mind the feel of Springsteen’s ‘Nebraska’ or Bon Iver’s ‘For Emma, Forever Ago’. Nothing is overplayed, and it gives a very ‘live in the studio’ feel. The folky, almost Celtic ‘Tumbleweeds’ and ‘The Great Divide’ have a more commercial, radio-friendly feel with soaring, powerful vocals and life-affirming lyrics that will make the hairs on the back of your neck rise to attention. Elsewhere, ‘Deep Swimming’ brings to mind The Lumineers and ‘Sway’ is a beautiful love song to his wife with a stunning vocal performance.

Leonard Cohen’s ‘Dance Me To The End Of Love’ fits perfectly with the themes of love, loss and retribution and serves as a precursor to the title track that closes the album. The piano-led ‘Weapons Of Beauty’ is as emotive and dramatic as you could wish for. As you wait on Jay’s every word, at times his voice is on the verge of breaking, such is the power and emotion he pours into this performance.

‘Weapons Of Beauty’ is a deeply personal album, a true confessional told by a true storyteller. It is the sound of a man laying his heart on his sleeve and coming to terms with the burdens of loved ones and the reflections of time in self-imposed exile.

Jay Buchanan has created a cinematic landscape that takes the listener on a mystical journey through his soul, covering a range of emotions, and at times, you truly feel you are encroaching on something that wasn’t meant to be shared. And that is a rare thing for an artist to accomplish.

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Author: Ben Hughes

THE CHUCK NORRIS EXPERIMENT – ‘Hot Stuff Vol. 3’ (Ghost Highway Recordings and Chaputa! Records)

THE CHUCK NORRIS EXPERIMENT – ‘Hot Stuff Vol. 3’ (Ghost Highway Recordings and Chaputa! Records)

Hot Stuff Vol. 3 is the third instalment in a very specific side series within The Chuck Norris Experiment catalogue: a carefully curated collection of recordings spanning different sessions, years and contexts, bringing together covers, original songs and lesser-known tracks that sit outside the band’s regular studio albums. One thing we know from listening to this band for donkeys years is they always deliver, be it single splits or albums, they in fact have matured over the years, and since the 7-inch album, they’ve been on fire, delivering their best music in an illustrious career thus far.

Obviously in a band, there are going ot be common loves and styles but collectivly they also share a wide range of influences — from Blue Öyster Cult, Sex Pistols, Dead Moon, New Bomb Turks, Demolition 23 and Electric Frankenstein (all included here) but what they’ve mnaged to do is take these songs and own them knocking out CNE versions and interpretations and owning some very good songs. Alongside the covers, original tracks such as ‘When The Dust Settles’, ‘All Your Bridges Are Burning’ and ‘Let The Wheels Roll’ Showing that the band’s own output stands tall next to some pretty big hitters I guess someone not familiar with the covers or the bands own output would be hard pressed to split the tunes into covers or original. ‘Problems’ gives the Pistols a souped-up Scandi overcoat, and it fits really well. To be fair, the energy they’ve put into these tracks is a real joy to hear, especially when played loud! its what the wah pedal was made for.

The album also features a guest appearance by Jake Starr on ‘In The Doorway’, a name that needs no build-up or introduction to the well-researched Garage rock scene. I adore the Demolition 23 album, and to hear another band I also respect and have most of the music they’ve released covering ‘Hammersmith Palais’ is a highlight on this record. Also, you can add the Electric Frankenstein cover to my top picks. If you know the band’s previous releases, this is a no-brainer. If you’re looking for a new band to delve into, then this is still a no-brainer; Chuck Norris Experiment Hot Stuff is absolutely Hot Stuff. Don’t snooze its limited to only a few hundred copies.

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Author: Dom Daley

Kevin Steele – ‘One Thing Left to Do’ (Steele Records)

Kevin Steele – ‘One Thing Left to Do’ (Steele Records)

I was 14, and 99% of my music listening involved hard rock, metal, thrash, and what we now refer to as hair metal. Z-Rock was something of a pioneer at the time, as I believe it was a national radio station, instead of just being heard locally. I remember hearing a mix of hard rock and metal back then, where it might transition from Rigor Mortis to this new band called Roxx Gang. The first time I heard ‘No Easy Way Out’ by Roxx Gang was one of those magical moments where a song just flows through your soul. Kevin Steele’s vocals had a unique charisma all their own. I picked up their debut album ‘Things You’ve Never Done Before’ and put it on repeat. While I’m convinced someone could have just made a spark and sent them into a collective ball of fire with all the aqua net they had in their hair, they did provide some differences from their peers. Some of their lyrics were a little darker, but at other times, they were as juvenile as the stereotypes of the time. The musical world changed with grunge’s arrival in the mainstream. Roxx Gang continued on with an independent label, and I remember buying their second album through Perris Records, as well as the Mojo Gurus albums. That second Roxx Gang album has received more and more listens over the years. Steele has now delivered his first solo album, and, while I find it a frustrating listen at times, there is a lot I also enjoy.

The title track gets the album started with a bass-heavy mix that leaves me wishing the guitars had more presence in the mix. They pop up a couple of times but seem to get swallowed by the rhythm section in the overall mix. It’s always great to hear Steele’s vocals, but it’s a rocky start for me. Lead single ‘Snake Charmer’ has grown on me with repeated listens, but I didn’t connect with it at all on first listen. This one features a cool groove, and the mix allows the guitar to weave its way around the rhythm. Up next, ‘The Bedspring Boogie’ has a title which could have been used in the early Roxx Gang days. I love the piano here, and the swagger of the song. I get frustrated again when the guitar gets lost in the verse,s but really like the way it is used elsewhere.

‘I Know What Yer Up To’ turns up the blues, and the mix here really works for this song. My first few listens of the album, this was the song that really pulled me back and made me pay attention. Wrapping up the first half of the album is the ballad ‘Sad, Sad Song.’ Musically, I am reminded of the Dogs D’amour and Nikki Sudden here, which is always a good thing. There is a genuine vulnerability in the vocals, and it ends the first half of the album on a positive note.

One of my favourite Roxx Gang songs was ‘Nine Lives’ from their debut album, and side two kicks off with its sequel of sorts in ‘The 9 Lives Blues.’ A bluesy rock beat with some killer piano that incorporates some of the vocal melody from 38 years ago creates a great song. Every instrument feels present in the mix, and the album’s momentum continues building. ‘Fingers Crossed’ brings a rolling and rocking country vibe to the album, where acoustic and slide guitars get the focus. Musically, this would be at home on albums by Izzy Stradlin, the Black Crowes, Quireboys, Stones, or bands in the red dirt music scene here in the States. Steele’s drawl on the vocals shows another side to his voice, while also always sounding like himself.  A rocking soulful rhythm and blues groove, strengthened with horns, highlights ‘Nobody Tells Me When to Quit.’ I like the use of the backing vocals here. It doesn’t connect with me as much as the previous songs, but it adds some fun to the album.

Hard rock ‘n’ roll explodes out of the speaker through ‘My Baby Didn’t Come Home Last Night.’ It builds on the joyous spirit from the past couple of songs, and this is another one where I love the piano. Proper album closer ‘There’s a Better Day Comin’ utilises a midtempo beat. This is one of those everyone raise your glass for a toast songs. ‘Don’t You Worry About Me’ appears to be a bonus track, as I don’t see it listed on the vinyl version of the album. It is not a cover of the Wildhearts song, if anyone had that thought. This is an acoustic troubadour celebration with some excellent guitar picking. This is probably my favourite song from the album.

While the mix of the album doesn’t sit right for me, my appreciation for Steele’s previous work helped me persevere through the beginning of the album and encouraged me to keep playing the album. I would love to see the first few songs get a bit of a remix and add some guitar in there. If you find the first song a struggle, I recommend starting with the 3rd or 4th track and then working all the way back around. I will be mixing songs from the album into my monthly playlists, which will likely lead to the whole album getting more plays.

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Gerald Stansbury