The Bellrays – ‘Heavy Steady Go’ (Sweet Gee Records)

The Bellrays – ‘Heavy Steady Go’ (Sweet Gee Records)

Californians The Bellrays release their brand new long player to coincide with their mega jaunt across the USA supporting Social Distortion and what a banging record it is too. In true Bellrays fashion it’s all killer and no filler. From the bellowing pure Rock n Roll vocals of Lisa Kekaula finely complimented by the sweet tones of Robert Vennum’s guitar. The record is split by two cities, two years and two rhythm sections pulled together to make another finely balanced Bellrays record where they walk the line of punk blues rock n roll.

The record kicks off with a brooding menacing ‘I Fall Down’ that pretty much encapsulates everything that’s good and great about the band. Lisa’s voice dominates the room with another commanding performance as the song builds to a mega solo a song of real cool class with a great chorus that gives you goosebumps.

Once the band have relaxed the record opens up firstly with the groove of ‘Hard Drive’ and the even groovier (is that even a word?) ‘Snakes’. ‘One More Night’ is the sound of a band playing a song they know will be a floor filler in any live setting as Lisa’s vocals take control and I’m wondering how the hell this band aren’t a household name. Every album is packed with bangers and they know what they’re good at and stick to that formula and just deliver every time. The playing is spot on as is the tone of the record it sounds so warm and inviting you must surrender and just enjoy the ride.

There’s a shimmering coolness about ‘California’, The record ebbs and flows really nicely in the middle section from all our rockers to the more laid back rollas but always filled with great tones and a mix that is so inviting. ‘Wolfs Sun’ is a brooding gutsy song with a super fuzz guitar going toe-to-toe with the vocals.

I love the all-out twelve-bar boogie of ‘Down On My Knees’ bollocks to reinventing this wheel let’s just roll with it and do it in style. It’s a peacock strut of a song that even dares to give it some cowbell. Before the record closes there’s time to turn it up with a raging ‘All The Rage’ with a shift of the gears the four to the floor is fired up with a dirty riff that just kills it right to the solo that’s unadulterated guitar hero stuff on a real album highlight wedged into the business end of the record.

Rather than signing the record off with a ballad or laid back song they go for some sidewalk strutting cool entitled ‘Whatever Turns you On’ and they are done. The Bellrays release a record that might just be their finest hour. It ticks every box you’d want from cool to classy to rock and fuckin rolling The Bellrays are in da house mofos and their bringing the PA and guitars and the air raid siren vocals of Lisa Kekaula this record is everything I was hoping it was going to be and some and my advice is don’t let it pass you by, get on the groovy train and lets boogie The Bellrays are once again bringing the party, Heavy Steady Go! cat go just simply Buy It!

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Author: Dom Daley

Zeke have Snake Eyes

Zeke have Snake Eyes

Following their highly acclaimed single ‘Ride Hard Ride Free’, the undisputed kings of balls-out rock’n’roll ZEKE have a new 7′ entitled ‘Snake Eyes’ slated for October 4th.

ZEKE is a punk rock and hardcore institution, forming in 1992 in Seattle and still going strong. They are still doing what they do best, loud fast and heavy punk rock with a hint of blues. You can say that they were punked up Motörhead but they brought a certain punk rock and hardcore element to the genre that many bands after them picked up on.

RPM Online wrote, “Zeke really are like no other band in the world right now” and that “It’s not fast, its fucking hypersonic hardcore”, while Maximum Volume highly recommends “… they are the kings of the underground.”Vive le Rock in UK is pleased “the quartet will be giving Brexit the finger.” and also Ox Fanzine from Germany confirmed, “they are in top form, just as we celebrated them back in 1996 for Super Sound Racing.”

With original members Blind Marky Felchtone (vocals and guitar) and Donny Paycheck (drums) along with Jason Freeman (bass) and Jeff Hiatt (guitar), ‘Snake Eyes’ is as uncompromising as ever, with a furious whirlwind rhythm the foundation for a tidal wave of fast guitars. Feltchtone’s serrated knife vocal might be even more toxic than two decades ago.

‘Snake Eyes’ slows down the punk speed a bit in favor of a high-octane rock affair that, like Hellacopters, comes across as played at the wrong speed.

On the flipside you will find pure intensity with ‘The Knife’ and you can imagine ZEKE driving one through the night doing whatever they are doing in the back and once its finished you feel dazed and confused. Like one of those masochists who likes pain you want to put it on again too.

‘Snake Eyes’ was produced by Jack Endino (Mudhoney, Nirvana, High on Fire, The Accüsed) at Soundhouse in Seattle, WA, and mastered by Joe Bozzi at Bernie Grundmann in Los Angeles, CA.

The tracks are not available on streaming platforms.

LIVE DATES:

16.10.2024 – DE – Dresden – Chemiefabrik

17.10.2024 – CZ – Praha – 007 Club

18.10.2024 – PL – Moglino – Magazyn Zbozowy GS

19.10.2024 – DE – Berlin – Roadrunners Rock & Motor Club

22.10.2024 – AT – Wien – Arena

23.10.2024 – DE – München – Backstage

24.10.2024 – IT – Milano – Legend Club

25.10.2024 – IT – Verona – Colorificio Kroen

26.10.2024 – IT – Roma – RCCB Init

27.10.2024 – IT – Bologna – Improved Sequence Festival

29.10.2024 – ES – Barcelona – Upload

30.10.2024 – ES – Valencia – 16 Toneladas

31.10.2024 – ES – Mardird – Gruta 77

01.11.2024 – ES – Oviedo – Gong Galaxy Club

02.11.2024 – ES – Vitoria-Gasteiz – Jimmy Jazz

05.11.2024 – GB – Bristol – Exchange

06.11.2024 – GB – Manchester – Rebellion

07.11.2024 – GB – Birmingham – Castle & Falcon

08.11.2024 – GB – London – New Cross Inn

09.11.2024 – GB – Brighton – Green Door Store

10.11.2024 – BE – Gierle – JK’t Hoelske

11.11.2024 – DE – Wiesbaden – Schlachthof

13.11.2024 – DE – Düsseldorf – Pitcher

14.11.2024 – NL – Den Haag – Paard Small Hall

15.11.2024 – NL – Arnhem – WillemEen

16.11.2024 – NL – Eindhoven – Helldorado Festival

17.11.2024 – NL – Amsterdam – Melkweg

ZEKE is: Blind Marky Felchtone – Vocals, Guitar / Donny Paycheck – Drums / Jason Freeman – Bass / Jeff Hiatt – Guitar

Tuk Smith & The Restless Hearts – ‘Rogue To Redemption’ (Gypsy Rose Records)

Tuk Smith & The Restless Hearts – ‘Rogue To Redemption’ (Gypsy Rose Records)

“I’ve been trapped in the maze of the errors of my ways…now I am making up for the mistakes I have made”. So sings Tuk Smith on the title track of his sophomore long player ‘Rogue To Redemption’. Here at RPM we love the underdog, the outcasts and the artists who fight to keep the dream alive. Former Biters frontman Tuk Smith is one such dude who has travelled the rocky road to rock n’ roll damnation and he’s been through the ringer with the music business. But lost deals, empty promises, broken dreams and even a global pandemic can’t stop the Georgia native from keepin’ on, keepin’ on.

Following the killer 2022 release ‘Ballad Of A Misspent Youth’, Tuk and his band The Restless Hearts return with ‘Rogue To Redemption’, a 9-track affair (10 if you are a streamer, possibly more if you live in Japan). It’s a defiant “fuck you!” to the naysayers, and a glorious and triumphant trip through the annals of rock n’ roll.

The album opens with a killer one-two designed to fill stadiums. ‘Take The Long Way’ is an instant earworm with a rousing chorus that just makes you wanna reach for that volume button and blast it. ‘The following ‘Glorybound’, as with the opener, just sounds like it has always been in my ears. As soon as that chorus hits, it’s like an old forgotten friend has returned and all is well in the world. It’s a song of hope and dreams, a middle finger to the non-believers and a euphoric ride from the first beat to the last ringing chord.

Ok, so those two are previously released singles and I have already given them plenty or airplay, so there is familiarity. But third track ‘End Of An Era’ is brand new to my ears, yet those Thin Lizzy inspired twin leads, the sneering vocals and the instantly satisfying chorus just make me wanna punch my fist in the air and sing-a-long, that is proof enough that Tuk Smith is on a roll right now with his songwriting.

For me there is a lyrical suss that hits in the feels, that tells a story and transports you into the song in a way few modern day songwriters can. Up there with the likes of Butch Walker, Ginger Wildheart and Frank Turner for me.

The 70’s rock influences continue on ‘Still A Dreamer’. Not so much a nod to The Biters classic glam stomper ‘Ain’t No Dreamer’, but more to Thin Lizzy with its pumping bass line, cool vocalisin’ and use of space. One of those songs that gets better with every listen. There’s a lot of soul searching going on with this album and Side One closer ‘Little Renegade’ is autobiographical and from the heart.

For me, ‘Blood On The Stage’ is the centerpiece of a very strong record. It builds on a simple, strummed acoustic progression, and an emotive lyric. There’s an Oasis swagger and a stadium-sized chorus that begs to be familiar to millions. The title track follows, another highlight that comes on like Butch Walker doing Thin Lizzy, it builds and builds to a powerful climax. It seems every song is a winner.

In the second listen through of this album, closing song ‘When The Party’s Over’ sent shivers up my spine on the buildup to the first chorus. That doesn’t happen very often, and is a good sign that we’re onto something special.

Who was it that said “Difficult roads lead to beautiful destinations”? Well, difficult roads have certainly shaped the songs on ‘Rogue To Redemption’. For the first time, I feel the Nashville resident has not only matched, but surpassed the promise that his old band The Biters showed on their early EPs.

There’s classic 70’s rock influences, a fistful of power pop and a smattering of Brit Pop going on. With killer songwriting, great song dynamics and a top-notch production Tuk Smith has delivered the album of his career and I’m pretty sure none of us saw that coming.

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Author: Ben Hughes

PROPHETS OF ADDICTION TO RELEASE NEW ALBUM

PROPHETS OF ADDICTION TO RELEASE NEW ALBUM

PROPHETS OF ADDICTION TO RELEASE NEW ALBUM, ‘FACE THE MUSIC,,’ – THROUGH BRAVEWORDS RECORDS

At some point in your life you just have to take account for your actions and face the music. PROPHETS OF ADDICTION mainman Lesli Sanders has taken that to heart. PROPHETS OF ADDICTION’s fourth album, Face the Music is set for a release on 25 October via BraveWords Records. The first single, Superhero, from the upcoming album will be released 27 September.
 
Kicking things off with the downright dirty “Flavor of the Danger,” the listener is immediately clued in to what they’re getting with Face the Music, an album loaded with catchy late 70s inspired glam punk n roll riffs, powerful and emotionally resonant vocals and a clever lyrical output. “Let’s Get High” sees the band slide slightly into a melodic goth route ala Sisters of Mercy. The song isn’t a drug reference, but a “recollection of the excitement that a new record would bring as a teenager and after the long wait finally able to hear it for the first time,” says Sanders. The band’s take on the Rod Stewart classic “Maggie May” is nothing short of punk magnificence, The band had the opportunity to play the track for drum legend Carmine Appice, who played with Stewart from 1976 – 1982. Appice was so impressed that he asked, “would you mind if I send this to Rod?” The album’s lead single “Superhero” comes complete with a hook that won’t leave your head for days. “Superhero is a song I have been sitting on for a few years and wasn’t going to record until the right musicians were put in place, realizing the potential. I finally found that group of musicians,” the frontman states.
 
Face the Music, PROPHETS OF ADDICTION’s debut for Bravewords Records was recorded between 2022 and 2023 in Seattle, WA and Las Vegas, NV and produced, mixed and mastered by Phil Soussan (bass player for Ozzy Osbourne, Billy idol and more). Drummer Wayne Stokely says of the album, “We wanted to make a classic 70’s style rock n’ roll album without losing our raw and punky vibe, but with a modern 2024 production. There’s not a lot of records out there like this one, so I think we achieved our goal. The songs speak for themselves,” while Sanders adds “this is the record I have been wanting to record for years. The feel is right, the musicianship is right, the songs are right and now the time is right for you all to give us your thoughts.”
 
Of the band’s signing with hotshot upstart label Bravewords, Sanders declares “We were looking for the right label and the search was extensive, the most important aspect to me was getting it out there for people to hear – otherwise, what’s the point, right?” while Stokely adds, “I’ve known Tim and Giles for years now. Plus, I’m already signed to the label with another act so it seemed like a natural fit.”

Website: https://www.prophetsofaddiction.com
Facebook https://www.facebook.com/TheProphetsofAddiction
 

The Courettes – New Record coming late September

The Courettes – New Record coming late September

‘The Soul Of The Fabulous Courettes’ out September 27th via Damaged Goods Records

A rock’n’roll sensation from the word go, Danish-Brazilian The Courettes are back with their fourth and best album to date – ‘The Soul Of The Fabulous Courettes’. And this time, they’re bigger, wider and deeper than ever before as they add more to the blistering ramalama that’s seen them cause pandemonium across the venues, festivals and airwaves of the UK, Europe, USA and Japan. Hitting the sweet spot that straddles garage rock, girl groups, doo-wop harmonies, heartache and all points in between, here The Courettes build on the momentum of predecessor ‘Back In Mono’ with a collection of songs that opens up their sonic scope while confronting dark, emotional matter to reveal ‘The Soul Of The Fabulous Courettes’.

“We didn’t want to do ‘Back In Mono 2’,” stresses drummer Martin Couri.

“We always try to put ourselves into a zone of discomfort, which I think is where exciting things happen rather than just doing the same thing over again,” agrees singer, guitarist and multi-instrumentalist Flavia Couri. “I mean, I know some bands can do that but we don’t see ourselves making the same album for the next 20 years. We thought ‘Back In Mono’ was our best album until this one!”

She’s not wrong. Having evolved with each album release, ‘The Soul Of The Fabulous Courettes’ draws inspiration from many of the duo’s numerous idols that have only previously been hinted at.

“We wanted to show our love of the Spector Wall Of Sound and Motown,” reveals Flavia. “It was a clear mission and we’ve absolutely nailed it.”

From the glorious opening beats and stabbing fuzz honks of ‘You Woo Me’ to the closing emotional tugs of ‘For Your Love’ via ‘Shake!’’s fuzzed-up urgency and ‘California’’s celebratory warmth, The Courettes have broadened their sound with an increased musical instrumentation and overall sophistication that’s evident in both their sound and songwriting. And crucially, they’ve achieved this without sacrificing any of the rock’n’roll grit that’s been scraped from Flavia’s guitar strings and Martin’s battered and pummeled drums. And aiding them in their quest for sonic perfection are a few guest musicians and back room wizards playing some very specific roles.

“We had La La Brooks of The Crystals singing on ‘California’ and ‘Run Run Runaway’, which for us was totally a dream come true!” enthuses Flavia. “I mean, the voice of ‘Da Doo Ron Ron’, which is for us is one of the best produced songs in the entire universe and this is something that we’re really proud of.”

Further magic was applied by direct connections to the source of all that The Courettes hold dear.

“We asked Darian Sahanaja, who worked on the production of Brian Wilson’s ‘Smile’, to mix the vocals on ‘California’ and ‘Run Run Runaway’, which he did in a Beach Boys style and we really dig it. And we also worked with Richard Gottehrer, who for us is like a songwriter god! He worked at the Brill Building and co-wrote ‘I Want Candy’. A mutual friend played him ‘Keep Dancing’ and he left a message on my phone saying, ‘I love your track and I really dig the lyrics’ and he mixed ‘Keep Dancing’ and ‘Boom Boom Boom´.”

“We also had Peter Kehl and Kasper Wagner from Danish band Black Tornado playing horns on ’Shake!’, ‘Better Without You’ and ‘Stop! Doing That’,” says Martin. “We had a session with them where they played trumpets and a lot of overdubs with tenor and baritone saxophones. That was really cool.” 

And joining The Courettes at their own StarrSound Studios in Denmark once again is multi-instrumentalist Søren Christensen who contributes Mellotron, organ, piano and backing vocals while producing the album together with C.T. Levine.

While the music has opened up to include acoustic and 12-string guitars, bass, E-bows, castanets and timpani, so have the kind of emotions that might not ordinarily be associated with The Courettes.

“Because I’m the one most responsible for the lyrics, I actually allowed myself to open up to some personal things,” admits Flavia. “And so that means that our souls are in the album both musically and also lyrically.”

She continues: “We lost both of our fathers. My father died of COVID. But my relationship with my father was non-existent. He abandoned me and my sister. It was a very difficult relationship and it’s not so easy for me to talk about it. ‘I Don’t Want You Back’ and ‘Keep Dancing’ are about his death and how he still has a power over me and bringing me down and what it’s like to break free from that. You know, some parents are cruel.”

“It’s a special subject to sing about and to make pop music out of,” says Martin. “It’s actually celebrating moving on and I think that’s really fantastic. ‘Keep Dancing’ is absolutely smashing.” 

“’The Soul Of The Fabulous Courettes’ blends two things,” explains Flavia. “First, of course, are the nods to the soul music and especially Motown, which is pop music the way we like it. But I think for the first time, lyrically, we actually open up to some deeper topics. It’s not disguised as teenage heartache songs anymore.”

Reflecting ‘The Soul Of The Fabulous Courettes’, the album’s monochrome album cover was shot by celebrated photographer Søren Solkær, who’s previously immortalised Amy Winehouse, The White Stripes and Paul McCartney among many others. 

“It’s such a cool contrast to the pop songs,” says Martin of the cover art, “but it’s also hand-in-hand with the album’s dark themes. He really goes into your soul. I think it’s amazing.”

For all that, ‘The Soul Of The Fabulous Courettes’ is an album aimed as much for what’s below the neck as above it, for this is an album that dances through the darkness to celebrate the joy that is living.

“Life is so fragile,” smiles Flavia. “But what are you supposed to do? I’d rather dance.”

And what better album to do that to?

Millie Manders & The Shutup – ‘Wake Up Shut Up Work’

Millie Manders & The Shutup – ‘Wake Up Shut Up Work’

Millie Manders & The Shut Up have been around for a while in one guise or another and my first encounter of her was when she jumped on stage with The Barstool Preachers to sing a duet with Tom as a stand-in for Amiee Interupter and I admired the young ladies powerful performance and equally powerful vocal. Well as the months and years unfold Millie Manders & The Shut Up are on album number two and have truly found their niche and position that they are comfortable in. They deliver a life-affirming alternative mash-up of Ska, punk, rock and a pop sensibility that bands often miss when pressing their message by trying to be something their not but no sir Millie Manders do things on their own terms and do it very fucking well.

From the opening salvo of ‘Angry Side’ the horns toot and the feet can’t stand still. That momentum continues with ‘Shut Your Mouth’ as the weeks and fills tick away over a funky bass line whilst Millie does her thing with ao confidence through a strong melody. The song meanders and twists n contours to its conclusion and already I’m sold. This promises to be a real contender come the end of the year with strong song after strong song. ‘Me Too’ opens with a crisp riff before it bubbles under the vocals and lyrics before breaking out on the chorus. Stirring stuff. The band cuts lose those punk n ska chains on ‘Fun Sponge’ Millie Manders & The Shut Up on the surface are having it large but there is a serious side but they deliver it without coming across as sanctimonious or preachy, these are subjects they hold close to their identity and I guess so will the listener or anyone with a moral fibre running through their soul. Me Too” tackles sexism and body autonomy, while “Threadbare” tackles poverty. “Can I Get Off?” has a conversation on the dividing topics of the minute such as the war in Palestine and the rise of the far-right, MM&TSU confront these difficult subjects and I admire them for that.

‘R.I.P.’ is an excellent vocal from Millie. The other thing I take from this album is that it is not all smash, crash and burn or fist-pounding there are as many quieter moments where the band’s musicianship comes into play such as ‘Halloween’ The run-in is as strong as the opening introduction and a triumph it is closing with the punchy ‘Pressure’.

Pressure?, What pressure Millie Manders & The Shutup have delivered a proper album that ebbs and flows and is bursting with tunes of substance and humility. Buy It – you won’t regret it.

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Author: Dom Daley

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Reanimated South Wales lowslung rock ‘n’ rollers SISTER MORPHINE follow up last year’s fifteen-track debut album, ‘Ghosts of Heartbreak City’, with an all-new double B-side single, ‘Werewolves of Suburbia’/’I’m Up For Letting You Down’, released on streaming platforms and limited edition white vinyl seven-inch via Big Egg Records on September 6th, 2024.

Written in 2024 and recorded over the Summer at RedRock Studios with Lyndon Price once again at the controls, these two new songs up the ante of the band’s signature sound: punk ‘n’ roll with killer hooks. ‘Werewolves of Suburbia’ is a dark, metaphorical calling-out of pathetic men who still treat women as pieces of meat, while ‘I’m Up For Letting You Down’, which has one creeper in the Seventies and the other in a Scandinavian rehearsal space, is an ode to those people who stick by you when you’re at your worst. Sure to be live favourites, both songs will make their debuts on a Sister Morphine setlist when the band play at the HRH Sleaze VII festival at Leicester’s O2 Academy on Sunday, September 8th.

The single will be available as a limited edition white vinyl seven-inch – one of the first releases from the Big Egg Vinyl Club – with cover artwork exclusive to this physical format. This will be Sister Morphine’s first-ever vinyl release.

Catch Sister Morphine live at: HRH Sleaze VII – Leicester O2 Academy – September 8th

The Pit – Newport – October 11th (with Deathtraps & Arizona Law)

Big Egg Records

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Two years after the classic ‘Ride The Wild Night’, John Reis is back with nine, spanking new tunes. The man we used to call Speedo in the mighty RFTC changes his moniker with every release, but the quality of the songs never drops. His pedigree is beyond question, and lead single ‘Ketchup, Mustard And Relish’ is an instant ear worm which would be right at home next to ‘When In Rome’.

Album opener ‘How Are You Peeling?’ owes more to early RFTC, with its off-kilter rhythm, and it has that magic that draws you in. ‘Harbor Freight’ is a straight ahead rocker that you will want to play on repeat, while ‘Teen Hate’ is like the very best Ramones songs, with a bittersweet edge and a Fab Four ending. ‘Privacy’ rattles along before ‘Lost In Bermondsey’ claims its place as one of John’s best tunes.

‘Shock And Awe’ is a groover that Jim Jones would surely approve of, that begs to be played live. Righteous stuff, indeed. ‘Don’t Wait’ is a lesson in how to craft a canny pop song, complete with “woah, woah” refrain, and ‘Beware The Halo’ brings the album to an end in style, if all too soon.

Short and sweet, with no filler. The only downside being that, with no CD available, it’s an expensive purchase from the USA, what with postage fees being increasingly hefty now. That said, this is a fitting follow up to ‘Ride The Wild Night’ that you can listen to online now before deciding whether to increase your vinyl collection.

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Author: Martin Chamarette

SWAMI & THE BED OF NAILS LINKS
Instagram | Facebook | Swami Records

Dangereens – ‘Chic'(Alien Snatch! Records)

Dangereens – ‘Chic'(Alien Snatch! Records)

The band Dangereens came to my attention back in 2021 with their mighty fine debut long player ‘Tough Luck’. “Hanoi Rocks meets The Georgia Satellites jamming in a smoky bar with The Rolling Stones” is how I described the debut long player from this Montreal based 5 piece. And I’m happy to report that with the surprise release of their sophomore album ‘Chic’, not much has changed in the Dangereens camp.

With the cool swagger of the Stones, the trashiness of The Dolls and the countrified twang of Tom Petty, Hugo Chartrand and his band return with a 13-track sophomore album that warms to the soul from the first digital drop of the needle. 

It all kicks off with ‘Fly By Nighter’, a 70’s glam rock stomp of an opener, with sleazy Faster Pussycat style low slung riffs, sneering vocalisin’ courtesy of main man Hugo Chartrand, and there’s even some cowbell thrown in for good measure.

The country twang of ‘Death On Two Wheels’ is a welcome addition and builds nicely, Tom Petty meets The Stones for the win. Three tracks in and ‘Kingdom Of White Lies’ shows singer and main songwriter Hugo’s knack for a catchy tune. A 50’s rock n’ roll feel to this with boogie-woogie piano stabs.

I mean, I’m pretty much sold already, The Dangereens didn’t have much to prove in my eyes (or ears) and they are holding up to the word ‘sophomore’ so far. The band take a deep breath and take things down with ‘Walk On Water, a laid-back tune that evokes ‘Black and Blue’ era Stones, as twin guitars fight for low down licks over a lazy but tight-ass rhythm section. In a similar vein, ‘Any Day Now’ sounds like it coulda come from the Ju Ju Hounds album sessions, did they give Izzy or Rick Richard’s a call for this one, I wonder?

The band records in analogue with minimal takes and there’s a lot to be said for that approach to recording a rock n’ roll record. ‘Chic’ just sounds like a classic 70’s record before you’ve even hit side 2. 

Talking of side 2, we’ll let the music do the talking, but a special mention goes out to the fantastic ‘Chlorine’ in all its boogie-woogie, glam glory and what a killer bass line! They don’t make ’em like anymore. That my friends is a strong tune with an overly catchy chorus. 

Elsewhere, with handclaps, twin guitars and a definite glam stomp, ‘Friday Night’ outdoes Tuk Smith in the T Rex meets Thin Lizzy meets Bryan Adams groover stakes. The title ‘Hallelujah’ suggests a rousing chorus to sing from the rooftops and Hugo and the boys deliver in spades.

13 tracks in 40 minutes leaves enough space on one side of a C90 to squeeze on a couple of tracks from their debut EP for good measure if anyone still does that sorta thing. 

Good times don’t go out of style and Dangereens have plenty to go around. I’ll give you one piece of advice, if you have even a smattering of interest in this band, head over to Alien Snatch Records Bandcamp page and order this bad boy on old school vinyl before it sells out, tell them RPM sent ya and we demand a UK Tour quick sharpish. ‘Chic’ could be my favourite album of the year and is certainly essential listening.

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Author: Ben Hughes

David Bowie – ‘Self Titled’ (Deram)

David Bowie – ‘Self Titled’ (Deram)

Bowie’s debut album gets a vibrant revival on Deram with a reissue on both CD and coloured vinyl, boasting exclusive tracklists and keeping with the reissued Bowie records as of late this comes with a wonderful tri gatefold CD and equally nice gatefold LP. This version is Presented with the single B-sides for the very first time on vinyl, including a rare version of ‘Space Oddity’. 

Originally released on 1st June 1966 Bowie was an artist bursting with ideas that would later prove to be the work of something of a genius, very much the epicentre of uber cool and Swinging London. sure Critics of the time commented; with the NME praising Bowie’s fresh sound as “all very refreshing” and hailing him as “a very promising talent.” Melody Maker lauds the album as “a singularly rewarding collection” with “excellent” production while expressing surprise that Bowie hadn’t yet made a bigger impact on the pop scene. Meanwhile, Disc & Music Echo raves about the album, describing it as “a remarkable, creative debut album by a 19-year-old Londoner” and declaring Bowie as “a new talent that deserves attention.”

This re-issue features the original stereo album, produced by Mike Vernon, with a further fourteen tracks, including the first fruits of Bowie’s long relationship with producer Tony Visconti; ‘Let Me Sleep Beside You’, ‘Karma Man’ ‘In The Heat Of The Morning’ and ‘London Bye Ta-Ta’, the last making its vinyl debut in this collection.

Looking back on his debut album many years later with characteristic self-deprecation, Bowie mused: “Lyrically I guess it was striving to be something – the short story teller. Musically it’s quite bizarre. I don’t know where I was at. It seemed to have its roots all over the place, in rock and vaudeville and music hall and I don’t know what. I didn’t know if I was Max Miller or Elvis Presley.”

These early recordings reveal an earnest young artist at the dawn of his career, working hard on material in which he passionately believed. David Bowie poured his young heart into this music – and it shows. Looking back it often sounds foppish like the opening track and Bowies own comments about Max Miller or Elvis showed the sound wasn’t lost on him either and he never lost sight of who he was and never took himself too seriously (ok Glass Spider apart) It’s great to have this album in pristine condition and its integral part in Bowies story that an essential part of how he evolved and where he came from. My collection is now complete and so should yours. This might not be as accomplished as his recent record store day release but the Bowie archive has to be almost drained. Buy it if only for ‘Space Oddity’ that closes off this window in time. Awesome.

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Author: Dom Daley