Roaming Australian currently plying his trade outta Spain, Casino would be known for his consistent releases and the loud guitars and big tunes of the Springsteen nature. or at least his last offering was like that however here he’s softened and moved in a totally different direction for the tone and feel of this record. ‘Vibrations, Yours And Mine’, is something more relaxed and charming, Americana like if you really need to force it into a pigeon hole. But the artwork would allude to the feel of the music if the truth were told.

Knowing how prolific Casino is with his songwriting, he has relied heavily on covers here, with only four out of the eleven songs being penned by his fair hand. Opening with  ‘I Hear You Calling’, originally by Bill Fay, could easily be a Casino original such is the delivery and interpretation, Complete with pedal steel (courtesy of Los Deltonos’ Hendrick Rover).

Not being too familiar with the originals I did my homework and compared and contrasted each version and decided that Casinos version of Dan Hicks & His Hot Licks, ‘I Scare Myself’ doesn’t alter greatly from the original, perhaps with the benefits of hindsight brushed up or rather cut up the intro and dropping the acoustics into the mix  I think this song sounds better in the hands of Casino.

His quite beautiful rendition of Chris Bailey’s Saints ‘Ghost Ships’ shines and the lap steel is a joy. Not sure this one is as tasty as the original but hey always a nice tip o fthe hat to fellow Australian rockers who should have been huge. His version of The New Christs ‘Dropping Like Flies’ sees Casino flip the rocker into something more somber without doing any harm to such a good song.

 

Keeping it southern hemisphere heavy and covering bands that Casino clearly holds dear he also tackles more current artists such as the black keys and maybe because the songs aren’t generally seen as big-ticket bands or chart hit staples the flow of the record is excellent and for a late-night listen this is an absolute home run. I didn’t see the gypsy blues of Gordon Lightfoot’s ‘Sundown’ coming, but he still manages to take ownership of arguably the most widely known of the songs here apart from the Campbell classic ‘Wichita Lineman’ which is the only weak one compared to the original on offer here but hey one below par shouldn’t spoil anything.

On Vibrations…, Johnny Casino has pulled all the stops to mix up some of his favourite tunes and taken ownership and done it extremely well.  If you’re a fan of his work then its a no brainer if you have a mild interest in any of the bands he’s covered then you should invest some time into this long-player it might just be one of the best discoveries you make all year. Americana, via Australia and Spain, what a great record to toast be it sangria or a tinnie get on it!

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Strange… when I was assigned this album to review, I was vaguely familiar with the band and went to check out a couple of the early songs released from the album. I wasn’t blown away by them at the time. With that said, I approached the album with some apprehension, even knowing the members of the band have a wealth of greatness among them. It turns out I was either in the wrong frame of mind to hear the early songs, or they did not necessarily immediately translate in the video format to me. At the end of the day, this has become a very enjoyable album for me, which sounds fresh, even if it channels its sound from the glorious nuggets of the past.

Perhaps the difference in how this album came to life for me is the brilliance of opening song ‘Coat-Tailer,’ which I had missed on YouTube. The tasteful group vocals that open it with the classic feeling rock n roll guitar that is buoyed by the piano perfectly set the table for the album. The harmonies are outstanding, and there are multiple lines in the song that will get stuck in the listener’s brain. The guitar solo by Elliot Easton is right on the spot. Second song ‘Remember Days Like These’ features Ringo Starr and is a song that I have a feeling I will like more down the line. It has been a slow grower so far and really reminds me more of something Phil Spector would have produced. The band gets right back into the classic rock n roll vibe with ‘Well, Look at You’ featuring some great horns and a killer chorus. Wally Palmar’s smooth vocals are perfect for this music. They continue to mix things up with the bluesy ‘Jonathan Harker’s Journal.’ The sound effect laden intro suits the opening guitar perfectly. The rhythm work of Clem Burke (drums) and Andy Babiuk (bass) is razor tight and establishes an awesome groove. The vocal work here is awesome as well, especially throughout the chorus.

The up tempo ‘Sometimes Shit Happens for a Reason’ once again takes us back to a classic rock feel with a song that should feature on a cool indie romantic comedy. This song reminds me of everyone from John Cafferty to the rocking side of the Texas Tornados to the light hearted side of Bruce Springsteen such as ‘Glory Days.’ At this stage, this is probably my favorite song on the album. Follow up song ‘The Best That I Can’ keeps the rocking going but suffers in the shadow of the previous song for my tastes. Each member gets a chance to show off their musical chops here. Much like ‘Remember Days Like These,’ I think this one will benefit as the album gets more and more plays in the time to come. ‘If I Could Change Your Mind’ roars in as another nuggets style rocker that features more brilliant vocals by Palmar. This is another brilliant slice of poptopia that should receive a ton of plays on Little Steven’s Underground Garage.

‘Come On and Try It’ was one of the songs I heard before listening to the album, and it still really does not grab me. I think part of it is that refrain of ‘nah nah nah nah’ just feels repetitive in this rocker.  In the context of the album, I like it better, but this is not likely to be a song that I seek out to play on its own.  The ballad ‘The World as we Know It, Moves on’ definitely works better for me as a great change of pace song with some tasteful backing vocals in the chorus. It is also one that does not overstay its welcome either. ‘The Haunting of the Tin Soldier’ settles into a midtempo feel which features some great drum work by Burke but still one of the ones that doesn’t fully grab my soul.

The closing group of the album starts with the attitude filled ‘Death by Insomnia.’ The harmonica work here adds a great feel to the song with the slow bluesy groove designed to get the body moving. This is another one of my early favorites from the album. ‘The World’s Gone Insane’ was another song I heard on YouTube prior to the album, and I like it much more here. The rocking tempo serves to get the album in full rock n roll mode again with a classic feeling riff. The chorus is simple but hooky. I cannot see it ever being my favorite on the album, but it is one I look forward to hearing when I play the album. The closer ‘Indigo Dusk of the Night’ is also the longest song on the album with its acoustic introduction immediately different from everything else on the album. The lyrics paint a picture that you can experience throughout all of your senses. Musically, this one could sit on the Beatles ‘White Album’ and really makes a great finale to the album. The added instrumentation as the song moves forward is terrific, and I imagine it will sound even better on headphones. The closing of a door then ends the record.

This album really provided me with a nice surprise and hit that nuggets sweet spot while still sounding current and fresh. I am very glad that I did not let the first song or two I heard ahead of the full album form my impression of the whole record. This album will be receiving a lot of plays, and I anticipate several songs from the album will make their way onto monthly playlists of mine in the future.

‘The Second Album’ is available now. Buy Here

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Author: Gerald Stansbury

Frankie + The Studs LIVE stream shows are coming on 2nd & 3rd October, these are free events but with limited numbers. Click  Here for more info or RSVP to the Dice links below.

To celebrate the release of “(Not Your) Victim”, Frankie And The Studs invite you to join them (virtually) at the Gibson Showroom in LA for an exclusive, fully electric live show!! Tickets are FREE but limited, so make sure to RSVP.
Your ticket will also give you exclusive access to a live Q&A. Should you wish to make a donation and/or purchase some of the brand new designs in the merch store after the show, 10% of the proceeds will go to the totally amazing @chicasrockerassela

 

U.S.: Here 8pm PST / 4am BST / 5am CET

Australia: Here 8pm ACT / 1pm BST / 2pm CET

Hollywood rock ‘n’ roll band Frankie and The Studs have recently unleashed their killer new single ‘(Not Your) Victim’, out now via Punktured Media. Frankie and The Studs just penned a deal with Australia’s Punktured Media, with ‘(Not Your) Victim’ the first offering.

Frankie had this to say about their new single: “(Not Your) ‘Victim’ is a song inspired by the inherent strength women possess. Through the challenges of living in a patriarchal society, we can never have  enough reminders of our innate superpowers as women. Women supporting women is a powerful force to be reckoned with and this
song reminds us to do just that
.”

Written by Frankie Clarke and Anthony Stasi and produced by Paul Miner at Buzzbomb Studios CA, ‘(Not Your) Victim’ breaks in an era where women are empowered and independent. Potent lyrics, energetic and extremely catchy, this track makes a strong statement and conveys what can be achieved when women stand up and unite.
Frankie has a prolific family history in the music and fashion industries…it’s flowing through her veins. Influenced by the leather clad rock icons Suzi Quatro and Joan Jett, Frankie has her own designer style with the band, echoing ‘70’s rock.

A savvy businesswoman on one side and on the other.….when she hits the stage with The Studs and dons her guitar, she ignites the verve that is Frankie and The Studs! There’s no middle ground here folks, this quartet uses power-chord shout-outs and spiky lullabies to define their nighttime worlds and busted hearts.

‘(Not Your) Victim’ is available on all your favourite streaming and digital platforms from September 18th.

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The second full-length album from Fukuoka’s, The MSGS. Out on Waterslide Records Japan &  Monster Zero in Europe sees this three-piece (one English, and two Japanese members) melodic punk band release this album of 90s inspired songs in the same vein as the likes of Buffalo Tom and mid-period Lemonheads is what I’m hearing mixed with some pop-punk.  Leaning on strong melodies on the vocals.

The ten tracks on offer are helped by a really bright production that this style benefits from.  there a certain melancholic quality to the opener ‘September Sky’.  The band sounds tight and the songs are well constructed.  ‘Home’ is uptempo and the band sounds like they’re working hard on the time changes but its the frantic beat that carries the song along with that melodic pop-punk style.  Very much with one eye on the catchy melodies and the other on just cutting loose and knocking out a style of music they clearly enjoy – that much shines through.

The songs are kept short to be fair and this always helps bands who go for this style there’s a bit of Americana in ‘Half’ with its thoughtful lyrics and glugging bassline its the longest track on offer and one of the records best. ‘Tarantula’ has the beating heart of the Ramones in the tempo and music delivery if not the vocal melody.

I like ‘Alison’ it has a great shuffle and the melody is good with the male/female vocals works really well.  There’s even time to crack open the acoustic guitars for a bit of balladeering on ‘You Don’t Have To Go’ which offers a curveball and a welcome change of style and pace. To wind this one up they fire up their ‘Ray Gun’ and a tip of the hat to some early Green Day again with some great playing and tight arrangements lift this out of the pack. A really decent record that mixes up some great style and spits em out with passion and quality.

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Author: Dom Daley

 

 

Possibly the best video you’ll see all lockdown and the tune isn’t too shabby either.  Buzzard Buzzard Buzzard released their debut album ‘The Non Stop EP‘ during this pandemic and this is as good as it gets without any live-action.  So pour a cup of tea sit back, relax, and get an eye and earful of this beauty…

 

WANTED: Scumbag Millionaire. Today, the Swedish action punks release a new video for ‘Desperado’, the third single from ‘Poor and Infamous’ which will be out this Friday 25/09.

In this video we traveled back in time. To a time when Hisingen was a calm place except for three gringos raising hell. Trying to avoid the local sheriff and the bounty hunters.” 
– Max L (guitar)

High energy action punk, straight out of the gutters of Gothenburg, Sweden! After touring all over Europe in their stinky black and gold Chevy van, playing all the punk rock venues/festivals and drinking all the beers (one entire tray at the time, it’s easy once you know the trick!), Swedish action punks Scumbag Millionaire headed to Sunlight Studio with producer Tomas Skogsberg to record their second album: Poor and Infamous.

Scumbag Millionaire is an extension of the classic Scandirock-scene which had its prime in the late ‘90s with bands like The Hellacopters and Turbonegro. With people craving new Scandirock acts, Scumbag Millionaire are more than happy to pick up where it left off, proudly flying the Scandirock flag in 2020.

September 25th 2020 will see the release of Scumbag Millionaire’s second album: Poor And Infamous. The follow-up to debut album Speed (2018) was recorded at the legendary Sunlight Studio in Stockholm, produced by Tomas Skogsberg (Backyard Babies, The Hellacopters, Peter Pan Speedrock) and mastered by Frida Claeson Johansson at Svenska Grammofonstudion, with guest vocals by Jennifer Israelsson (Hot Breath) and Elin Larsson (Blues Pills).

“Recording with different producers and engineers on different projects has always really helped us develop. Tomas has produced some of our all-time favourite albums and working with him is something we’ve been talking about for a long time. It was an amazing experience working with him and listening to all his stories from the past.” – Adde

All singles from the new album will also be released on 7” single: In a little under six years, the band has released between 17 and 20 singles (they might have lost count), including split releases with bands like Electric Frankenstein and an Iggy & the Stooges tribute split 7”. To end their Speed album cycle with a bang, they released a 12” maxi single. All these releases have incredible artwork, come in different vinyl colours, and contain B-sides that are not available anywhere else.

We simply love 7” singles. The format is amazing, with just one song on each side. And also the size of it. It’s an item you always can afford at the merch table. What’s not to like?” – Adde

Scumbag Millionaire is:
Max A – Vocals & Guitar
Max L – Guitar
Dennis – Bass
Adde – Drums

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Who are Thee HeadShrinkers?
We’re a 3 piece garage band playing garage punk with a bit of proto-punk thrown in

Where are the band from?
South Coast, UK (Hastings area)

How did the band get together?
Me and Gino were looking to play in a similar style, and didn’t want to play covers .. We found Stiv along the way

What’s With The Name?
We had a song called Headshrinker, and we thought it sounded OK as a band name. The ‘thee’ was just to differentiate between any other band with a similar name, and it was a nod to the Medway scene bands

What are your recordings to date?
We’ve done some in an analogue only studio, and some just in a our practice room/garage. We’re gagging to do some more in a studio but need to save some money up

What are your post-pandemic plans?
Hopefully, get gigs and play to lots of sweaty people

Who are your influences?
60s garage bands, proto-punk bands like the Stooges, Velvet Underground, MC5, as well as the Pistols,  the Jesus and Mary Chain, the Meteors, 80s Matchbox b line disaster

Where can people get hold of your music?
We upload our tunes onto Bandcamp.. Free download. As well as vinyl sold from there

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It’s been over a decade since I first discovered that even when Mommy Sez No you can still get your musical kicks from a trashy, crypt-cool beat combo souring airwaves with its self-soiled brand of “Spook ‘n’ Roll.”

 

 

From debut splatter platter, ‘Hotwaterburnbaby’, via the putrid poetry of follow-up, ‘Eeeeeeeeep!!!’, to the 2-4-5 Trioxin-addled new album, ‘The Dwellers Below’, the Saint Paul, Minnesota ghouls Mommy Sez No have traversed the gutters and gateways of the punk rock underground for so long that you’d probably be excused for thinking that this was a band destined to be stumbled across when lovingly fingering your wholly unfashionable physical media collection; the cobwebs blown from a disc or two decaying in the creepy corner labelled ‘Where Are They Now?’ But, no – this six-legged monstrosity (Jeff Arndt on guitar and vocals; Alex Smith on drums; Thomas White on bass) is back in the hunt; better, stronger, faster than it was before.

 

 

Okay, the enhancement might not be bionic, but it’s by some other ungodly advancement that finds the horror punk veterans kicking lumps out of the opposition with a thirteen-track (what else?!) long player that, actually, doesn’t play for that long given its frenetic pace, but oozes with a gooey, unexpected slap of, dare I say it, maturity.

 

 

Looking cooler-than-thou wearing its wraparound artwork skin courtesy of fellow Minnesota mayhem maker, artist Bill Hauser (creator of many a striking punk rock album cover), ‘The Dwellers Below’ takes the lowbrow splatter punk of Mommy Sez No out of the garage and into, well, at least the garage forecourt. With better production, better artwork, better just about everything to be honest, this is the band’s most accomplished work to date… but fear not horror punk purists, this record is still a wretched hive of scum and villainy.

 

 

From opening cut, ‘Take Me To The Hospital’, to the power ballad, ‘Maggots In Yer Guts’, via the chaos of ‘Hahahahahahaha’, Mommy Sez No is still as subtle as a killing spree and as manic as a final girl chase scene. The big difference is that the band doesn’t stumble at all throughout the entirety of this album.

 

 

Even when introducing more straight-ahead rock ‘n’ roll strut to the tracklisting with the likes of ‘Lil Bit Of Voodoo’, ‘Rock And Roll Death Patrol’ and the alternate reality KISS riff-led ‘Uh Oh… I Think…’ the band still has that unnerving way of making the listener feel like they need a good wash after partaking in an auditory exercise; the songs to die for (possibly literally) rather than a diversion.

 

 

The aforementioned artwork may give off a sense of the post-apocalyptic (doesn’t everything these days?!) but the album still has a hoof or two in the band’s tried, tested, and tortured peculiar amalgam of straight-to-video horror and no-budget punk rock… except there is a budget these days, but that shouldn’t put you off; think the upgrade from The Evil Dead to Dead By Dawn – better everything, but with that same, fierce independent spirit. ‘The Dwellers Below’ is a crazed, ass-kicker of an album that will easily force its way into my Top Ten albums list of a crazy, asshole of a year. Recommended.

 

Buy the album Here

Author: Gaz Tidey

Seemingly untouched by the global crisis as much as any passing trend, Billy Childish continues to swell his catalogue at an amazing rate. After CTMF’s ‘Last Punk Standing’, comes the first of four albums by his latest project, The William Loveday Intention. Yes; four albums, already in the can. Joined by James Taylor and Dave Tattersall, “People Think…” has the flavour of a western-themed record. The Medway Delta is augmented by tales from the saddle, while Billy’s voice remains firmly in the Kent marshlands.

 

The production is lush, as befits the ‘widescreen’ feel of most of the songs here. Violins and mariachi trumpets enhance songs like ‘My Love For You’, which has the richness of The Urban Voodoo Machine, while ‘Again And Again’ and ‘This Wondrous Day’ reminds me of Dan Sartain’s recent ‘Blue Prairie’ album, though I imagine that Billy has cast an influence on them already.

 

The richer sound suits the songs and the cinematic feel throughout, but there are still the Lo-Fi elements you’d expect; the insistent, monotone keyboard riff of the title track, which manages to name check Kylie Minogue, and the fiddle led lament of ‘The Bitter Cup’.

 

I’m guessing that it’s Julie singing on ‘You’re The One I Idolise’, though I don’t have all the details to hand. A sweet song that echoes some slower T Rex tunes. Then there’s the skeletal blues riff of ‘My Father Was A Railroad Man’, one of the oldest riffs, that John Lee Hooker must have heard as a child.

 

This is an interesting side-step from Billy, and bears repeated listens. What the next three albums will bring, only he knows, but this is very promising.

Damaged Goods Records

Buy ‘People Think They Know Me’ Here

Author: Martin Chamarette

Kurt Baker (Kurt Baker Combo, The Leftovers, etc) Delivers New “Over You ” Video That’s “A Total Spoil of Riches For Any Fan Off 80’s Culture.”  New Solo Album ‘After Party’ Out October 23 on Wicked Cool Records

Melbourne, Australia’s The Mercy Kills are back, with the release of their newly remastered single, ‘Fall’ and accompanying video. Fall comes from their upcoming EP X, which will be released by Golden Robot Records on October 2nd.  Facebook  / Instagram / Twitter

Finally this Monday we bring you the brand new video from Dinosaur Pile-Up and their take of the classic ‘It’s tricky’ from Run DMC.  The band have announced rescheduled live dates, which include their largest headline show yet to take place at London’s O2 Forum Kentish Town on February 26th 2021, with a warm up show at The Wardrobe, Leeds on February 20th. Dinosaur Pile-Up will be completing a full UK tour with Enter Shikari throughout May and June 2021, which finishes with a London show at Alexandra Palace on June 12th. The band are also set to perform at festivals including Mad Cool and Burn It Down next summer. All tickets are available via The bands Website