The Cutthroat Brothers and Mike Watt – ‘Devil In Berlin’ (Hound Gawd! Records)

The Cutthroat Brothers and Mike Watt – ‘Devil In Berlin’ (Hound Gawd! Records)

Hound Gawd! Records announced the new album by The Cutthroat Brothers and Mike Watt on the back of the RSD release that featured Watt and its fair to say I got a little excited. I love myself some Cutthroat Brothers anyway and the added Mike Watt was always a blast. Whilst having a bass guitar on the older tunes was quality it was always going to be interesting to see how that dynamic would work on hearing new tunes and it was a proper buzz and lived up to the hype and standard I’d imagined in my fuzzy head. ‘Devil in Berlin’ is set to drop in record stores in early December but it can’t come quick enough.

Might as well start at the top and ‘Bad Candy Girl’ kicks in like a motherfucker with a bass that’s growling like a Mack truck with no brakes doing 100. but after the sonic boom, it settles into a cool groove and already this record has my attention. The breakdown is like a dust-up at the crossroads and those Bad Candy Girls are twerking with old nick before leaving with these three cats.

Love the tunes as they roll off the record from the swirling grind of ‘Been Away’ Colliding with the jig of the title track that’s splendid with its fuzzed-up bass and finger-clicking goodness. Its like you’ve entered some late night tiki bar thats got harleys out the front and the band kicking out the james are these three reprobates oozing equal parts Gun Club, Stooges, Elvis, The Cramps and just about a dozen other cool as fuck bands from history all spilling out over the grooves of ‘Devil In Berlin’.

To be fair I could go through each track dishing the dirt and drooling over the coolness of this record as the Brothers have really hit their groove and found the missing piece of the jigsaw in Watt who adds that little something extra that the dynamic duo couldn’t quite reach without him. Sure, the tunes would have been good but not this freakin good. ‘Love, Drugs Etc’ has some wicked slide that’s got some cool 70s glam running through it like an unearthed Sweet song played by some punks who found it washed up on a beach in some bottle.

In contrast, the fuzz of ‘Cold Dead Night’ has some Grunge running through it, either via Sonic Youth or a bit of Husker Du with a smidge of Kobain for good measure. The vocals remind me of some Black Francis in his Pixie days. Without a single duff or remotely below par track on offer, this album is excellent as one track detonates the next and the band move through the gears so smoothly from one tempo to the next and tracks like ‘Cherry’ has the band so comfortable and confident they it just sounds so confident like they knew when recording these songs how damn good it was going to be once it was handed over for production. In three years The Cutthroat brothers have served up some fantastic music that has gotten better and better with each record right up to this point and there is no filler just all killer its a close shave as to the best track maybe its the swirling backbeat of ‘Like A Zombie’ that sounds like its being pounded with sledgehammers courtesy of Paychecks drumming as the overdriven fuzz of Watt compliments the licks of Jasons guitar and devilishly cool vocals.

But wait they sign off with a song that’s like the beyond the grave rumble of Lemmy beating up a sonic youth Goo period thumper before menacing its way to the close and the final notes of an extremely exciting and bloody good record. Never mind the King being dead The fuckin’ Devils In Berlin aparently and this is his soundtrack.

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Author: Dom Daley

Loose Sutures – ‘A Gash With Sharp Teeth and Other Tales’ (Electric Valley Records)

Loose Sutures – ‘A Gash With Sharp Teeth and Other Tales’ (Electric Valley Records)

Desert grooves? Doomy Stoner vibes? Hypnotic Sabbath riffs? You name it and Sardinians Loose Sutures have it by the boatload! This sophomoric record certainly lives up to it’s Grindhouse B-movie title, especially now as the nights draw in….


I had trepidation at first, spying the song title ‘superfast shit kebab’ and the long noodley intro track but when the songs kick in, the band show their wares and that they know how to rock out with barn burners such as ‘stupid boy’ and low end throbber ‘sunny cola’. 


‘Last cry’ has equal amounts of classic Sabbath and MKII era Deep Purple deliciously blended, whereas next track ‘mephisto rising’ channels the former with all the necessary demonic Wah every listener needs. 


The record continues in this vein, constant delivery of pure evil riffs held together with excellent rhythms and grooves on tracks ‘black lips’ and ‘animal house’. Would you believe that the aforementioned ‘superfast shit kebab’ ends up being the euphoric standout track of the record! An anthem to say the least. 


The album finishes off nicely with ‘death valley I’ and the follow up ‘death valley II’, delivered immediately and up front, quick progress indeed if you compare it to George Lucas standards. Part one being the heavier of the pair but don’t discount the sequel, it’s packed with day-glo Psych vibes. Both very hypnotic and encapsulating, though in different ways.


The band describes this work as a journey of toxic tastes, endless nightmares, tempting mistresses born out of a sickly strip club……. Yeah, I couldn’t say it better myself. Ingratiate yourself with this record, hit the Med, get Loose and go get Gashed! 

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Author: Dan Kasm

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SLADE official deluxe vinyl album re-issue series ‘Slade in Flame’

SLADE official deluxe vinyl album re-issue series ‘Slade in Flame’

SLADEofficial deluxe vinyl album re-issue series slide in Flame’released on limited edition splatter vinyl out 26th November 

Pre-order here

‘Slade In Flame’, the third release in the series, will be released on red and yellow splatter vinyl. 


The first release in this beautifully presented re-issues collection ‘Slayed? debuted at #7 in the Official Vinyl Charts and the final release will be ‘Slade Alive!’.Slade’s first soundtrack album and fifth studio album ‘Slade In Flame’, includes the singles ‘Far Far Away’ and ‘How does it Feel’. Originally released on 29th November 1974, the album entered the UK album chart at #6 and it was certified gold by the BPI in February 1975. Slade’s seminal film was hailed as ‘the Citizen Kane of British pop movies” by Mark Kermode, BBC.


‘Slade In Flame’ follows the release of Slade’s third and fourth studio albums ‘Slayed?’, and ‘Old New Borrowed And Blue’. ‘Slayed?’ features ten songs including Number One single, ‘Mama Weer All Crazee Now’  and ‘Gudbuy T’Jane’ which reached Number two in the charts. While ‘Old New Borrowed And Blue’, features the singles ‘My Friend Stan’ and ‘Everyday’ and  The Times to retrospectively state: “This is joyous, unshackled and unpretentious stuff that reminds you how they rattled off six No.1’s.”

Pictures By Barry Plummer


Slade are without doubt one of the most exciting bands to come out of Great Britain and were unstoppable throughout the Seventies becoming one of the biggest bands; releasing six smash hits albums, including three UK Number Ones, a run of 17 consecutive Top 20 singles and their hits provided a soundtrack to the Glam Generation.
To pre-order ‘Slade In Flame’, go to: https://slade.lnk.to/sladeinflamePRTo order ‘Old New Borrowed And Blue’ go to: https://slade.lnk.to/onbabPR To order ‘Slayed?’ go to: https://slade.lnk.to/slayedPR

Skids – ‘Songs From A Haunted Ballroom’ (Cleopatra Records)

Skids – ‘Songs From A Haunted Ballroom’ (Cleopatra Records)

Open your mind and just let the music do the talking.  That’s how I approached this album of covers from the Skids but it had to meet certain criteria before being considered for inclusion on this album and to be fair, they only bloody well pulled it off!

Veteran punk rock outfit Skids have returned with a powerful new studio album that pays tribute to the band’s hometown venue, the historic Kinema Ballroom in Dunfermline, Scotland. Both a live venue as well as a traditional dance club, the Kinema became a musical and cultural epicenter for the youth in Scotland’s Fife province, especially during the late ‘70s, early ‘80s punk rock movement. It would also become the home venue for Skids who played numerous shows at the Kinema as both a support act for such legendary bands as The Clash as well as the headliners for multiple sold-out events.

Now, Skids take a walk down memory lane, performing songs by the bands who influenced them in those early years. ‘Songs From A Haunted Ballroom’ includes versions of tracks by The Clash, The Adverts, Ultravox, Sex Pistols, and Magazine PLUS new versions of their own early hits “Into The Valley” and “The Saints Are Coming!” so laying themselves open by covering some iconic punk tunes.  Let battle commence.

The first single from the album, a supercharged version of Ultravox’s ‘Young Savage’ is an eyebrow-raising moment because it’s both vibrant and has boundless energy. Then it’s one of those peek through your fingers moments as they take on ‘Complete Control’ and again I breathe a sigh of relief because they manage to stay on the right side of the cover version style and don’t do it cabaret style.  Capturing a good sound on those guitar crunches that was Jones and Strummers style and Jobson does a convincing job on the vocals.  Purists will no doubt be all over this complaining about one thing or another but I think they do a sterling job and pay tribute rather well.

 

As I relax a bit more it makes sense they do ‘Gary Gilmore’s Eyes’ it’s more Skids style and again it’s really well done. They even manage an energetic take on Rockpiles ‘Heart Of The City’  so its not quite there but to even take on such a top tune deserves some kudos.

 

What this record does do is send your mind back to what seems like better times when music was pouring out of every nook and cranny of the UK and everyone seemed to be indulging in pop culture in one way or another.  I guess they were simpler times with fewer distractions for young people’s time and energy.  I just hope Jobson will wear the Glove when they play ‘Rock On’ Live.  Cool song and a cool respectful take. One of the best versions here is ‘violence’ (never have too much cowbell), not enough bands sound like Mott The Hoople anymore.

 

Some of the best tunes here are indeed the lesser-known covers or ones you weren’t expecting  ’35mm Dreams’ springs to mind and to be fair the guitar sound captured on ‘Submission’ is most worthy then laying it side by side with ‘New York Groove’ is a great idea and two very different genres collide.

 

It’s hard to fuck up a cover of Iggys ‘I Wanna Be Your Dog’ such is the majesty of the track and Skids manage to avoid any embarrassment but making it a CD-only track is a little puzzling considering the vinyl revival going on.I guess it seems only fair that the band includes two of their most famous tunes as part of this look back at what made the band sound like they did and ‘Saints Are Coming’ is still a fantastic song as is ‘Into The Valley’ and fond memories of school discos come flooding back.  This only leaves the final track which again is a CD-only affair with Vinyl lovers.  ‘Christmas In Fyfe’ is their very Scottish affair and maybe one vinyl lovers won’t mind being omitted but don’t let that distract you from what is a really good album.  On the back of the acoustic record which again I really enjoyed this will also nestle in nicely in my collection – Check it out and remember your own memories of when new bands and sounds were hitting your ears on a daily basis.  Ah, the memories thanks skids this was a real tonic!

 

Pre-order the CD & vinyl: Here

Pre-order/pre-save the digital: https://orcd.co/skids_songs_from_a_haunted_ballroom

Author: Dom Daley

The Streetwalkin’ Cheetahs – ‘One More Drink’ (Dead Beat Records)

The Streetwalkin’ Cheetahs – ‘One More Drink’ (Dead Beat Records)
The first new album in 20 years is finally here. Those fine people at Dead Beat Records made it happen.  It features guests John Easdale, Rikk Agnew and Paul Roessler.  Eleven songs with a veritable Melting pot of styles is what’s on offer, so turn up the stereo,  sit back pour a cold one and lets go.
‘Ain’t It Summer’ sounds like Cheap Trick and the first thing that stands out apart from Paul Roesslers swirling keys are the layers and layers of harmonies on what is effectively the smash hit of the summer that never happened. it really is like a cool summer evening with the saxophone blasting out in the distance but not quite what I was expecting but ‘Fast Fucked & Furious’ is the rocket ride I was expecting.  Maybe they fucked up the running order I dunno.  Mayers vocals are as sharp and rockin’ as they ever were as he takes this sucker home but not before the guitars get set to melt their fretboards on the solo and from there on in the song is out of control.
Chillin’ or kicking back slightly ‘Bad Vacation’ has got a great hook with the riff and vocals working in tandem on the verse and when the sax joins in I’m sold – I love that setup and this is turning out to be a great tune. ‘We Are The Ones (We’ve Been Waiting For)’ is like a rouged up slice of power pop with the opening riff sounding like Neil Young and Crazy Horse jamming on a Wildhearts track.  Seriously it’s got those ingredients in the DNA.
We have some Rikk Agnew going on on ‘The Rejected’ as the boys fire up the Rock and Roll hotrod and take it out for a spin with a cool melody and vocals from Geoff Yeaton as well as his fantastic saxophone. I think when they wrote ‘Rumblin’ Train’ the title kinda wrote itself because the beefed rhythm section is like the sound of a freight train steaming down the track barely in control and its not Casey Jones honking on the rip chord tootin’ as it speeds down the track its a wide-eyed Frank Meyer with the devil’s horns raised high screaming for all he’s worth ably flanked by Duff as he rips out the guitar licks – great stuff.
They turn up the smooth old school classic rock for ‘Let Me Out’ in contrast ‘One More Drink’ is a punk rockin’ power poppin’ drop of nectar from the Gods of Rock and Roll.  It’s the more you play the better it gets kinda record.  Stick with it kids and the rewards start to filter through one by one.  You can stomp your feet to ‘Warzone’ which might well be the weakest track on offer here but it has some sparkling guitar licks and saxophone honkin’ which saves the cliches that otherwise might have gotten overwhelming. The record is closed off with ‘Switchblade Knights’ where they introduce some proper Ian McLagan boogie piano for good measure and sign off a bloody decent record.
In places, it soars like a phoenix from the ashes of what they used to be.  It never drops below an excellent record and when it does veer into a little cliched territory its got a saving grace that gives the song a free pass be it the vocal, a guitar break or saxophone honk – The world is a better place with bands like the Streetwalkin’ Cheetahs in it releasing records and making a worthwhile noise.  Now do yourself a favour and go get it because when they’re gone you’ll regret it but I hope it isn’t another couple of decades until the next one.
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Author: Dom Daley

Jess and the Ancient Ones – ‘Vertigo’ (Svart Records)

Jess and the Ancient Ones – ‘Vertigo’ (Svart Records)

If you like your rock in a mysterious ceremonial circle with a load of other rocks then ‘Vertigo’, the new album from Savonian occultists, Jess and the Ancient Ones, is for you.

 

The follow-up to previous album, ‘The Horse & Other Weird Tales’, ‘Vertigo’ may be seemingly simpler-titled but it is certainly not a simple rock record. This eight-track curio from the Finnish psych rock outfit is one of those rare albums that comprises solely of deep cuts, yet is strangely essential and vibrant.

 

The band’s previous brand of twin-guitar-led metal has mutated into organ-drenched heavy psych oddity rock that feels almost as old and certainly as ominous as the hooded figure that listeners will surely see in the corners of their eyes when listening to this audio excursion into ghostlore.

 

Wrapped in suitably jolly artwork – a crude, vintage photograph of a tornado laying waste to some mortals – ‘Vertigo’ features haunting, brooding tracks that could be the soundtrack to episodes of Hammer House of Horror, hauntings, or night terrors – possibly all three… and possibly within the same song.

 

Pop culture permeates the grooves at various intervals here: ‘Talking Board’ points its planchette in the direction of The Exorcist via the infamous “Captain Howdy” dialogue; ‘Summer Tripping Man’ steals a ‘Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb’ sample to great effect; while ‘Love Zombi’ could accompany an action montage in an episode of Space: 1999.

 

This is folk horror rock, not to be mistaken with folk rock; in fact, situated towards the end of the album is a pair of tracks – ‘Born To Kill’ and ‘What’s On Your Mind’ – that threaten to rock out in a more familiar fashion. They only threaten it, mind; normal for this band is still as off-kilter as the most curious thing you’ll see, and be troubled by, all year.

 

Recreating a soulful garage psychedelia from the late Sixties was the aim of Jess and the Ancient Ones on this album and, yes, the band members’ aim is true… even if they have paired those desired sounds with occult rock sonics of a certain vintage that are sure to give those of us from the haunted generation scare flashbacks and cold sweats.

 

The recreation of a bygone era’s sound and folklore exhibited here is quite remarkable, it has to be noted; inspiration found on woodcut, the ritual and ceremony faithfully recreated. This is the lysergic doom album that you were looking for. In the corner of your room. At 2am. It’ll be there again tonight. Watching. As you sleep. Fucking hell. Facebook / Bandcamp

Buy ‘Vertigo’ Here

Author: Gaz Tidey

 

The Boatsmen – ‘Verses The Boatsmen’ (Ghost Highway Records/Spaghetty Town Records)

The Boatsmen – ‘Verses The Boatsmen’ (Ghost Highway Records/Spaghetty Town Records)

Woah! I wasn’t expecting that.

When the needle dropped and you get that initial feeling as you sit back and relax,  It was less than 20 seconds in and I was gripping the armrests and holding on for dear life as ‘Action Delivery’ handed me my ears ringing on a platter of feedback, wah! and a thunderous rhythm all wrapped in a majestic pop tune with melody and hooks galore.

I had no time to recover because ‘Friday Night Forever’ sent me over the edge.  Punky as fuck but in a HArd rockin’ sort of way, these jolly seamen don’t hold anything back in reserve and you get a shot right across the bow as the volume is relentless and the energy captured in these grooves is infectious, exciting and exactly what the noise doctors ordered.  Never mind ingesting bats full of mutating viruses this is my poison of choice and consumed in large quantities is most advisable to help get you through all the real life tribulations.

 

‘Blame It On Me’ is awesome, like the Hives jamming on some Turbo with an unhealthy amount of punk rock blaring through your ears. It’s like a violent headwind that’s out of control.  Then to serve up a steady dose of DC with added woo hoos! sees ‘The Thirst Song’ boogie and swing like a good un – they must know they’ve written a corker here and it must have been hard to record through such a ten-mile wide grin across their faces. I’m delighted they’ve still got a thirst and raise a glass in celebration of such an exciting record.

 

The Boatsmen have hinted at greatness but narrowly avoided it in the past or held back for one reason or another but now is their moment to shine and like a blazing sun they are right on the button. ‘Saved By Rock’ be fucked, they’ve picked up the flag and are carrying it to the top of the mountain triumphant in the knowledge that the Boatsmen are serving up a one-stop Rockin treat and covering all bases of loud in your face good time rock and roll that is this album.

 

It’s relentless in its quality and tune after tune it’s a twist and turn to emphasise how damn good these songs are. Just don’t get me started on ‘Even The Good Times Were Bad’ it’s like bottled lightning and ‘I Don’t Wanna Lose This Time’ is more restrained in comparison but then they up the ante again with the drinking song ‘When I’m Drunk’.

 

Put the beer down you might spill it as ‘Big Waves’ roll around and it’s a chance for us all to raise another glass and sing along. We get our groove on for ‘Clap Canon’ and some cock-rock and roll with a little tip to the 70’s glam stomp of a T Rex and Sweet. I hope you caught your breath as ‘Take Your Money’ is rapid and like a runaway train speeding toward the buffers without a care in the world.

 

It’s not all hard Rockin and Rollin and party party party.  ‘Better Man’ is a laid back brooding, grinding song that paints a darker atmosphere but no lesser quality, that’s a given and the harmonica is an awesome addition to the texture of the record. The temptation to throw in as many puns or going overboard, seamen and piraty themes is difficult but let’s let the music do the talking because, trust me here me hearties, these tunes are superb as is the whole albums feel, attitude and playing.  The Boatsmen ‘Versus The Boatsmen’ is going to be one of the albums of the year no question about it. so hoist the sails and get out there and purchase a copy because I wouldn’t want you to miss out – land ahoy! me hearties Boatsmen ahead.

 

PREORDER NOW!!
Ghost Highway Records / Spaghetty Town Facebook / Bandcamp

Author: Dom Daley

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Justin Sullivan announces details and pre orders for new and previous solo albums

Justin Sullivan announces details and pre orders for new and previous solo albums

NEW MODEL ARMY FOUNDER SINGER/SONGWRITER
ANNOUNCES RELEASE OF BRAND-NEW SOLO ALBUM
‘SURROUNDED’
OUT MAY 28th
PRE-ORDER HERE

On May 28th, 2021, Justin Sullivan steps out from New Model Army to release his second solo album, eighteen years after the first. Surrounded is a collection of sixteen new songs, written in the first weeks of the 2020 lockdown. These songs are again guitar-vocal compositions highlighting Sullivan’s love of storytelling, wide open landscapes and powerful atmospheres.

Mostly recorded at home, the album also features contributions from many other musicians including Jon Thorne on bass (Lamb) on harp Tom Moth (Florence and the Machine – and brother of NMA bassist Ceri Monger), plus string arrangements from composer friends Tobias Unterberg, Henning Nügel and Shir-Ran Yinon. Also featured are the current members of New Model Army. The album was mixed by Lee Smith at Greenmount Studios in Leeds, co-producer and mixer of New Model Army’s recent albums, including 2019’s From Here – their highest charting album to date globally.

Justin Sullivan says, “Under the circumstances, it wasn’t particularly surprising that this was the moment to make another solo record and the songs came thick and fast in the first few weeks of the lockdown. There is not so much about ‘what’s happening in the World’. As with ‘Navigating by the Stars’, which was written in the aftermath of 9/11, I wanted to write about other things – some well-known stories, some less well-known, a few autobiographical and more a landscape of the imagination than social comment.

“I’m grateful for all the many musical contributions I received from friends that help create all the different atmospheres and places; it’s a long album, but it seems that all the songs belonged together in one collection. I hope people enjoy it.”

Surrounded will become available on multiple formats such as CD Hardcover Media Book, Heavyweight Double Vinyl Gatefold and Digital and is available for pre-order as of now: Here

Today also sees the release of ‘Amundsen’, the very first single from Surrounded which gives an emotional first insight into this very personal album.

Justin Sullivan about ‘Amundsen’: “The stories of polar (and in particular Antarctic) adventurers at the beginning of the 20th Century have long been a fascination. On my first solo record, ‘Ocean Rising’ is, in part, the story of Ernest Shackleton’s epic voyage from Elephant Island to South Georgia. The final race to reach the South Pole between Robert Scott and Roald Amundsen is another fascinating tale.

“Being raised in England, Scott and his ‘noble, tragic’ failure is a story written large in national mythology but the other man, a truly remarkable explorer, is rarely acknowledged. The battle over who gets to tell which version of a story is very relevant in these times of ‘culture wars’, but the song is more a simple study of the man himself; I hope I have done him justice.”

‘Amundsen’ is now available as stream and digital download: Here

The single is also accompanied by an official music video which can be found on the official New Model Army YouTube channel: Here
The release of Surrounded will also see the re-release of Sullivan’s only previous solo album from 2003, Navigating by the Stars, released on CD but unavailable for many years. Described by The Independent as having “the warm organic quality of Van Morrison’s Astral Weeks”, the audio of this new version has not been altered but carries two additional tracks. These are ‘Sooner or Later’, which first appeared on a B-side in 2003, and ‘The Wreck of The Essex’, a song written and recorded later that same year that has laid dormant ever since but for a few live performances.

Navigating by the Stars will become available digitally and for the first time ever on vinyl. In addition, Justin Sullivan’s stunning debut album comes in a CD Digisleeve Edition with an expanded booklet as part of a Ltd. CD Box-Set Edition of Surrounded, followed by a standalone release later this year.

The Fuzztones – ‘ NYC’ (Cleopatra Records)

The Fuzztones – ‘ NYC’ (Cleopatra Records)

The Fuzztones Celebrate Their 40 Year Anniversary With A Heartfelt Love Letter To Their Home City of yup, you guessed it Noo Yawk City.

When I checked the track list I did a double take as I thumbed down the tracks wondering how these purveyors of wee small hors garage rockers were going to take on the tunes or had I just imagined that Rudi had finally lost his shit and gone for songs I’ve never heard but on the first play, I was on my feet shaking my head grooving like a good un because God damn it Them Fuzztones had only gone and knocked this one out of the park and just when you thought they’d bitten off more than they could chew they would only go and raise the bar a little higher. I mean c’mon, sure going for The Fugs is something I could see, or even the fine rendition of ‘Dancing Barefoot’ closing off the record is done with the utmost respect and perfectly in keeping with the idea that The Fuzztones were going to own this record take these songs and lovingly recreate them into their own unique fuzzed up slice of the big apple.

Opening with a Sinatra classic and making it jive and groove will raise an eyebrow and get people talking but hitting Wayne County ‘Flip Your Wig’ was perhaps more predictable and with the familiar Fuzztones organ honking away towards the chorus its a decent stab but its quite safe. Again The fuzztones tackling the Cramps is a no-brainer and ‘New Kind Of Kick’ is respectfully carved up.

Hold onto your hats kids because their reconstruction of The Ramones ’53rd & 3rd’ is spectacular and I love it.  they’ve nailed the chorus and the vocal delivery from Protrudi is brilliant. ‘Psilocybe’ is spooktacular and then the band let their collective hair down and crack open the harmonica on ‘Skin Flowers’.

I guess the songs I gravitated to the most were The Dead Boys and Dolls tracks so when I heard ‘High Tension Wire’ begin I sat back and appreciated that Rudi and the gang had really excelled on this one with a particularly good vocal. Sure ‘Babylon’ had the organs turned up to eleven and a suitably trashy take on a classic is duly delivered.

Its fair to say I was a bit surprised to see a Blue Oyster Cult track nestled in between some classics and its dwarfed by the version of Mink De Villes ‘Let Me Dream’ which I think pips the original for the groovy guitar work and the harmonica is excellent and whisper it but Rudi Petrudi is having a ball with the vocals.

‘Microdot’ is a take on ‘Chinese Rocks’ and given a royal garage psychedelic wipe down. but the one track I wanted to be done well more than any on offer here was the Dead Boys ‘ Not Anymore’ and its twisted a little by being sped up but the haunting feel is still intact and the lyrics still sound amazing. Could The Fuzztones all take a bow here because they’ve really stepped up here and the reconstructing of some seriously classic songs has really worked well. Leaving only the Johnny Thunders and The Heartbreakers rare track ‘You Gotta Lose’ being worked over out the back yard with only a switchblade knife between the original and this take and then ‘Dancing Barefoot’ wafts in on a cloud of mysterious substances like some ’60s black and white B movie.

Protrudi & Co have sealed this l-u-v letter with a kiss and swanned off having taken their curtain call and been called back for an encore that they throughly deserve.  To be fair they’ve owned each and every song here and have goven every one the Fuzztones make over and come up trumps because to cover a song and do it justice is a tricky thing but to do it for a whole album is really taking a risk and for and The Fuzztones deserve to own these classics – #Never forget your roots kids and never forget to tip your hat to those who paved the way and gave you the lifeblood coursing through your veins.  The Fuzztones – ‘NYC’ was never in doubt, was it.  Rudi, the Big Apple loves ya man it’s at the core of what you do and you’ve paid your respect in the best most fuzzed-up way. – Buy It!

Buy ‘NYC’ Here

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Author: Dom Daley

Diamond Dogs – ‘Too Much Is Always Better Than Not Enough’ (Wild Kingdom)

Diamond Dogs – ‘Too Much Is Always Better Than Not Enough’ (Wild Kingdom)

I think we’re up to reissue number sixty nine or something like that but I couldn’t care a less. When it’s the Diamond Dogs it’s all about the song and the Double D’s have ’em in spades.

Record label Wild Kingdom is re-releasing Diamond Dogs’ first 5 classic Long-Players (1993 – 2003). and including the singles and EPs from the same period.

Diamond Dogs were formed in 1991 in Katrineholm, Södermanland. From the very beginning hugely influenced by British Early 1970s R&B rock like Rod Stewart and The Faces, Frankie Miller, Dr. Feelgood, etc. and they are most unapologetic about that and so they shouldn’t be too.  When a band rocks up with an opener like ‘Charity Song’ and along with that huge swing, they have more horns than you can shake a big stick at, and before you know it whatever shitty day you were having will be transformed.

By the time the band made it to ‘Too Much Is Always Better Than Not Enough’  they’d changed personnel a bazillion times except for the lifers and integral members the Diamond Dogs built a formidable reputation for their live shows, with the charismatic singer Sulo, as well as The Duke of Honk and his organ (ooh er Mrs) The sound and style of gritty rock’n’roll was cast in stone. Sören ‘Sulo’ Karlsson also being the main songwriter, and Henrik ‘The Duke of Honk’ Widen serving as the group’s principal producer. as long as the quality of songs was being written the sound was going to be died in the fabric of the bands DNA. Former Oddball Stevie Klasson has the deft touch of a Keith Richards or a Ronnie Wood and could crash out a chord when he needed to like his old boss Mr. Thunders. Such is his quality and the fact the guy oozes it every time he picks up a guitar he was exactly what the Diamond Dogs stood for and then some and he really came into his own on this record.

This their third proper album ‘Too Much Is Always Better.. ..Than Not Enough’ showed they weren’t done yet, the album was released in 2002 (almost twenty years!),it opened some cool doors enabling the band to tour with the likes of The Cult, Nazareth, Ian Hunter, Hanoi Rocks, The Damned, The Quireboys, Dan Baird/Georgia Satellites, Sensational Alex Harvey Band to name a few.

‘Bound To Ravage’ was released as a single and its slide guitar-driven upbeat rocker was classic boogie-woogie. but the band weren’t just about the good times as they mixed it up with the slower more reflective rockers ‘Sad To Say I’m Sorry’ and the epic balladeering of ‘Somebody Else’s Lord’ with the swirling organ is a match for the Rod the Mod classic ‘I Would Rather Go Blind’ or the Stones ‘Get Your Ya Yas Out’ version of ‘Love In Vain’ and I kid you not when I say that. Then to follow it up with the wonderful ‘This Ones For My Lady’ shows that The Diamond Dogs had many strings to their bow and were experts when dealing with the precious tunes that were bestowed upon them. They step back into the beginnings of Rock and Roll with the 50s inspired swing of ‘Desperate Poetry’. Strangely this album is preserved with the same twelve tunes that made up the original release but somehow after all this time the wonderful tones of Stevie Klasson have somehow elevated it for me and his playing gives it the edge on the previous releases.  It might not have the bands best songs on it but as a complete album it’s exceptional.

Now had the Black Crowes continued on the trajectory of the first two and a bit albums I would hold them in the same esteem but alas they went all beardy Casey jones on us and fucked it up.  It always puzzled me how the Robinson brothers could fill large arenas and got people wetting their panties at the prospect of their reunion to play the money maker album but the real tunesmiths are here hiding in plain sight.  Ripping the shit out of rock and Roll and cooming up with top-notch album after top-notch album yet playing in local pubs.  Sometimes life does indeed give you lemons but if my words help one soul turn the way of The Diamond Dogs then I’d be happy and if you remember the band who dished this treat of an album up almost twenty years ago and want the chance to hear it on vinyl – well this is your chance because Too Much Diamond Dogs is never enough just buy it!

Buy it Here

Author: Dom Daley