Michael Schenker announces new album

Michael Schenker announces new album

MICHAEL SCHENKER 

SURPRISE AT WACKEN OPEN AIR

NEW MSG ALBUM DON’T SELL YOUR SOUL ANNOUNCED!

Exclusive world premiere of the title track – Album out October 3rd

What was already a standout moment of this year’s Wacken Open Air, the world’s largest metal festival, turned into something even bigger when Michael Schenker pulled a surprise no one saw coming. After delivering a fierce My Years With UFO set to tens of thousands of attendees on Thursday night, the architect of hard rock used the world’s loudest stage to announce a brand-new Michael Schenker Group studio album: Don’t Sell Your Soul will be released on October 3rd via earMUSIC.To mark the occasion, Schenker and his band closed the show with a world-exclusive live premiere of the new album’s title track – a powerful encore that took the Wacken crowd by surprise and was met with instant enthusiasm on the muddy festival fields.PRE-SAVE THE SINGLE HERE!

Earlier in the set, the Wacken faithful had already been treated to a once-in-a-lifetime moment: Slash walked on stage as a surprise guest, joining Schenker on the UFO classic “Mother Mary”. Two of rock’s most iconic guitarists side by side – a scene few will forget.Don’t Sell Your Soul is the latest studio album by the Michael Schenker Group and the second part of an album trilogy that began with 2024’s My Years With UFO.The album was produced by Michael Schenker and Michael Voss, and recorded with Schenker’s longtime allies: Bodo Schopf (drums), Barend Courbois (bass), and Steve Mann (guitar, keys). On vocals: the impeccable Erik Grönwall – undoubtedly one of the finest rock voices of his generation. Guest appearances on vocals by Robin McAuley, Dimitri “Lia” Liapakis, and Michael Voss round out the cast.Don’t Sell Your Soul will be available on CD, LP, and limited transparent red vinyl.

Pre-orders start Friday, August 1st.PRE-ORDER THE ALBUM HERE!

Märvel are back with some Rock n Roll

Märvel are back with some Rock n Roll

The masked kings of Swedish rock ’n’ roll are back. After 23 years, nine acclaimed albums, and countless high-energy shows across Europe, Märvel return fired-up and ready to unleash their tenth studio album – a new chapter of thunderous riffs, massive hooks, and unapologetic rock glory.

Formed in 2002 when three Swedish exchange students – The King, The Vicar and Speedo – swapped classrooms for garages, beer, and rock ’n’ roll in Colorado, Märvel’s debut EP Marvellous lit up US college radio and set the stage for a career of high-octane riffs, larger-than-life personas, and unrelenting energy.

Over nine acclaimed studio albums, Märvel has built a loyal European fanbase through relentless touring and collaborations with rock icons like Dregen, Strings, and Michael Monroe. With evolving line-ups featuring The Burgher, The Aviator, and Marshall Lawman, Märvel has grown into a masked rock powerhouse, celebrated for both their infectious hooks and striking visual presence.

From the glam-charged Thunderblood Heart and bombastic Warhawks of War to the guilty-pleasure gems of Guilty Pleasures and their latest praised release Graces Came With Malice (2022), Märvel continues to deliver big riffs, massive choruses, and an irresistible groove.

In 2022, Märvel marked 20 years with the double album Double Decade and their own festival, MÄRVELFEST, uniting past and present members on stage and cementing their status as one of Sweden’s most distinctive rock bands.

Now, The King, The Vicar, and The Burgher are gearing up for the next chapter – their tenth album.

First up is the track “Look! It’s Rock’n’Roll”. Märvel describes the song:

On the surface, this track tips its hat to Ace Frehley’s iconic 1980 quote — “Look! It’s Rock ’n’ Roll!” But dig a little deeper and it’s a tongue-in-cheek jab at those who overanalyze music and take themselves way too seriously. At its core, this is a reminder: hey, relax — it’s just rock ’n’ roll!

The song was one of the first ones written for the new upcoming Märvel album, and it lit the fuse. It jump-started the entire creative process and set the tone for what was to come.

Look! It’s Rock’n’Roll is released through the band’s newly established own label- Leather Lake, and is available on most streaming platforms. Here

The Courettes/Los Pepes – Brudenell Social Club, Leeds – 9th August 2025

The Courettes/Los Pepes – Brudenell Social Club, Leeds – 9th August 2025

With a love of the Spector wall of sound, garage rock and Motown, Brazilian-Danish husband and wife team The Courettes have been wowing audiences for nigh on 10 years now. Renowned for their explosive live shows and their relentless touring, Martin & Flavia Couri are promoting their excellent fourth album, ‘The Soul Of…The Fabulous Courettes’, with a UK tour that sees them return to my favourite venue in Leeds, The Brudenell Social Club. I was blown away the last time they played here. Can they possibly do it again?

First up tonight, though, we have another surprise. “Come a little closer, we don’t bite!” teases Ben Perrier, frontman of London-based punk n’ rollers Los Pepes. It’s midway through a set of the finest power pop ditties you’ve never heard, played at breakneck speed, and a curious Leeds audience tentatively takes a step forward. But not too close, as the singer’s guitar wielding antics are getting closer to the edge of the stage with every song.

While my fellow RPM compadres recommend the Los Pepes boys, I must admit to not listening to them before tonight. My bad, as not only are these boys an energetic and exciting live band, but the tunes are top notch too. There’s a familiarity on first listen, which is always a good sign for me.

Ramones meets The Buzzcocks is a good reference point, I hear some early Manics in there too, and with more Thunders licks than you have fingers, scissor kicks aplenty and guitars pointing to the sky, there’s a lot of good stuff going on.

Los Pepes are right up my street and I have been playing catch up on Spotify ever since, I love it when a support band surprises the shit outta me.

‘The Fabulous Courettes’ is what the logo states on the backdrop covering the iconic Brudenell stage sign tonight, and the well-dressed duo are nothing short of that for the one hour and ten minutes they light up the room tonight. Stage right is the suited & booted Martin Couri, pounding his minimalistic kit like the bastard son of Keith Moon and Ringo. Stage left, dressed 60’s go-go chic in black & white is Falvia Couri, a woman who could give Jack White a run for his money in the guitar department, and commands the stage like her life depends on the ability to entertain.

From the opening ‘You Woo Me’ to the closing ‘Hop The Twig’, the duo are tight, exciting and mesmerizing to watch. Mixing up a greatest hits of their impressive back catalogue, it just goes to show how many great songs they have under their leather belts. They play off each other and deliver a high-energy set that puts them up there with their contemporaries.

Newbies such as ‘California’ and ‘Boom Boom Boom’ are commercial and full of summery hooks, they fit the set well, along with the garage rock goodness of ‘Boom Dynamite’ and ‘Want You Like A Cigarette’. A Courettes show is all about maximum entertainment, and they sure give value for money. Both engage fully with their audience, “Go wild, Leeds, it’s a Saturday night!” shouts Martin mid-beat. A Leeds crowd can be a tough nut to crack, but there is a minority brave enough to lose their inhibitions and dance like no one is watching. Highlights are plentiful in this fun-packed set, but a killer ‘Misfits & Freaks’ is up there with the awesome Cramps-sounding main set closer ‘Hop The Twig’. Falvia even gets some crowd surfing in while playing her guitar!

How The Courettes are still playing venues of this size when the likes of Amyl & The Sniffers play megadomes is beyond me. But I’m glad they are, as I can’t think of a better way to spend a Saturday evening than up close and personal, in a sweaty room with one of the best live bands around. They’ll be back next year, miss them at your peril.

The Unknowns – ‘Looking From The Outside’ (Bargain Bin Records / Drunken Sailor Records)

The Unknowns – ‘Looking From The Outside’ (Bargain Bin Records / Drunken Sailor Records)

Prior to ‘Looking From The Outside’ Australian punk rockers The Unknowns have released two stonking albums but with this their third they’ve surpassed all expectations and made an absolutely stunning platter of punk rock n roll tunes that harks back to the good old days of The Saints and prime Cosmic Psychos a fair dose of Birdman and of course Da Bruvers from NYC are infused as well but Hey Ho lets go. entwined in this music’s DNA it should be on the radar of every self respecting punk rock aficionado. Oh and the small matter the band consists of Some other Australian band people might have heard of called The Chats who made this record whilst on Smoko.


Garage rock from the early 70s is a big influence on these songs as we’d expect and from the power pop opening of ‘All Grown Up’ its hooligan rock n roll with melodies borrowed from The Boys its an album bursting with a joy of music and togetherness.

There’s an honesty about the music that is both endearing and alluring and its so addictive. ‘None To Me’, ‘Lost Me’ are great riffs with a heap of melody and the latter has some grunt on that Bass that sets the tone like a long lost Birdman song.

‘Hold My Shadow’ is so good big riffs and sounds like it fell off the coolest radio show from the 70s you could wish to hear. ‘I Know You Know’ is mixing it up with the Misfits before Aemon Sandwich leads the vocals on ‘Psychotic’. Trying ot pick a highlight is pretty tough when every song is as good as the last and that was your favourite. ‘Ain’t What You Want’ is pure Boys but if Stiff Little Fingers had written it. much like the title track and album closer Honest John Plain would be proud of this record.


The first single ‘Thunder In My Head’ should be heard everywhere. It’s the summer of The Unknowns for sure. Hell Chuck Berry would be proud of the chugg of ‘Crazy Eyes’ as would the dynamic due that was Lure and Thunders. What a wonderful record that you shouldn’t pass by this summer if you only make one purchase to soundtrack the summer then make it this bad boy you won’t regret it for a second. Go buy The Unknowns before everyone knows. Buy IT!

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Author: Dom Daley

Mass Deception – ‘Resurrections’ (Gruesome Records)

Mass Deception – ‘Resurrections’ (Gruesome Records)

Dutch thrashers Mass Deception have been around since 2015 and have released three albums full of riffage. 2025 sees the release of their latest effort: Resurrections.

The album takes me back to a glorious time in heavy metal history, the late ‘80s. Think Flotsam & Jetsam, Testament, Sacred Reich, Sepultura, peak Metallica, and a little bit of Among the Living era Anthrax and you get an idea of what Resurrections sounds like. We get some stupendous riffs, mosh parts a plenty, and superb performances. Opener Gain of Function hits like a ton of bricks, no messing around, just full-on thrash loveliness. The breakdown riff in the middle part of the song is sublime. It had me pulling that thrash gurning face.

Selling Souls! Buying Lies! has a feel of classic Annihilator with its staccato riffs and double bass drums. Menticide starts with a melodic feel before we get more huge riffs. The production of the album is perfect, and it’s refreshing to hear the instruments sound real. No processed drums (I hate that!) and the album really does sound like it’s from the ‘80s.

Metropolis is a little interlude that could be a John Carpenter written theme from one of his films. Fantastic! 1984 kicks us back into thrasher territory with some fantastic twin guitar work from Waltmans and Banziger. Drummer Sanders plays a blinder throughout the album, his double kick drums blaze through the tracks.

The Road to Hell Leads to Rome has a more traditional heavy metal feel, with nods towards classic Judas Priest. Lyrics about religious hypocrisy are the order of the day here. Saturn is another moody instrumental piece, Ruins of Dominion highlights vocalist John Klaus, his vocal style fits perfectly in the framework of Mass Deception.

Blue Flame of Anger shows us a more melodic aspect of the band. We get some Helloween style guitar melodies as well as more Priest influenced metal. More superb drum work here from drummer Sanders. My favourite track from the album is V, superb chunky riffs, a short instrumental passage, but it’s so well done.

Resurrections is a fantastic listen, really well written songs executed in style. Get your ears around this, you won’t be sorry.

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Author: Kenny Kendrick

City Kidds – ‘South Glam Roxx’ (Steelheart Records)

City Kidds – ‘South Glam Roxx’ (Steelheart Records)

For some of the old-time glammies out there, especially those from the boulevard of broken eyeliner pencils and lipsticks – the arrival of this CD is a welcome time machine to when Bogiez ruled the rock scene of Cardiff and in general South Wales. 

Lovingly put together by the Kidds’ bass player extraordinaire Stevie C. Bright – ‘South Glam Roxx’ is the long-awaited official release of the various recordings, as part of ‘The Lost UK Jewels’ collectors series. The songs here feature a plethora of South Wales’ finest rockers! These include Jamie Kall, Josie St John, Kane, Kelly Valentine, Kerry Wild, Stevie ‘C’ Bright, Steve Marie, Johnny Evermore, Mick Vallace, TigerTailz drummer Matt Blakout and Ian Danter. As you can see there was something of a revolving door on the band’s line-up over the years.

Whilst the band are forever etched as the quintessential – should have been bigger or even came out at the wrong time – band. What this release finally achieves is that the potential of the City Kidds outweighs any doubt that this band actually had the songs to back up the outrageous image.

Many of the recordings here have been available on various unofficial bootlegs – it is great to finally have them all in one place and given the aural updating that truly highlights the magic of those original recordings, which were made in the late ‘80s and early ‘90. So to have them sound this great after over 30 years is truly remarkable and a testament to the music and songwriting.

Anyway, let’s get down to the music, as that is the reason we’re all here for. Starting the CD is the two tracks that made up their only other official CD release, and that’s the bubblegum pop whammy of ‘Generation Love’ and ‘Tonight’. I remember actually buying this CD single back in 1992 from Eccentrix in Cardiff, where it used to be advertised by the door alongside the shop’s usual merchandise of PVC and leather chaps. Also, I am a sucker for an over-the-top glam cover and this delivered on all accounts. So hearing this again after all these years was a pure nostalgia trip down the glam memory lane. Of the two songs, Generation Love has fared better, but they both are fantastic in their own right. 

After that kick-ass start, we go back to the band’s 1989 ‘Dressed To Kill’ demo and the demo’s title track and ‘Street Tease’. Which, back in the day, was hailed by the late Kelv Hellrazer as something really special. Kelv is also singled out guitarist Kelly Valentine – a possible new glam guitar god. Much praise from the glam pioneer.

Following on from there is the three songs that made up the Atomic demo from 1990. These songs – ‘Out For The Count’, Hit ‘N’ Run’ and ‘Atomic’, continue where the previous demo left off. Featuring new singer Josh Kane the demo took the promise of the first one and raised the bar again. 

The next batch of songs were recorded at the famous Rockfield Studios in 1992 and again show a new maturity in the songwriting amongst ‘Broken Glass Stare’, Nowhere’ and ‘Perfect 10’. It’s these songs that show how much promise the band were in control of and also highlight just how unfair the music business really is. For if these songs were released only a couple of years earlier, who knows where the Kidds or as they later became, Sons of God would be right now.

The last three bonus tracks are for me the hidden gems – with the band winning a Red Dragon FM Battle of the Bands contest back in 1988, the songs that were played are now released for the very first time – namely ‘Edge of the Night’ and ‘Lost Without your Love’. Both are clearly of their time and show a band in their infancy, but the potential was always there to be heard.

So basically, if you love the late ‘80s glam scene and the likes of Poison, TigerTailz, Tuff etc you need this in your collection. Be quick, though as there are only 500 copies being made. Not only that, in buying the CD you will be helping to raise money for Cancer Research UK and comes complete with liner notes by Rob Evans and Stevie ‘C’ Bright as well.

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Author: Dave Prince

Earth Eighteen – ‘Butterfly’ (Warner Bros.)

Earth Eighteen – ‘Butterfly’ (Warner Bros.)

Traveling back 30 years ago to 1995 when music had spun out into all kinds of genres, Earth Eighteen released their full-length debut which became a slow burner in my CD collection. Earth Eighteen really didn’t have a box to fit in at the time with the rock radio airwaves focused on the Foo Fighters, Smashing Pumpkins, Oasis, and No Doubt. Bands like Rocket from the Crypt, the Wildhearts, and Rancid released some of my all-time favourite albums that year. ‘Butterfly’ always seemed to be just on the periphery of what I had in heavy rotation. It seemed strange to my 21-year-old self that a band with a definite glam influence would appear with members from D.C. hardcore bands. My most listened to album from D.C. at the time was ‘Cruise Yourself’ by GvsB from 1994. Why am I writing about ‘Butterfly’ all these years later? It has grown in stature with me every year since it was released. I feel like it always gets more listens than the previous year, and it would be a shame if it fell completely off the radar of potential listeners.

They preceded this album with a five track EP with some album tracks and released a single from this album with exclusive B-sides which are also both your time and attention. ‘Butterfly’ starts slowly with the ‘La La Song’ feeling a bit like the caterpillar transforming into a butterfly at the very beginning. There is a definite Bowie and Bolan influence from the beginning. Piano helps move the song forward with its very slow beat. There is a fuzzy dreamlike audio quality to the song. It makes the explosive start to ‘Dolores Haze’ more impactful as it rages out of the speakers. The riffs stand out immediately, and the vocal hook in the song injects itself into the listener’s brain as something of a slow drip that doesn’t leave once it takes hold. The guitars really get to dominate the song and leave the listener wondering what could be coming next on first listen. The glam romp of ‘Mechanimal’ feels like Bolan with the instrumentation feeling similar to what Marilyn Manson would later do on ‘Mechanical Animals.’ The beats snap out of the speakers and the marching guitar riffs saw away at your brain. The jam session in the song makes me wish I would have seen them live. Even 30 years ago, I think part of what kept this album from crossing into mainstream success was they employed a lot of subtle choruses that become addictive over time but are not immediate earworms, like ‘On a Rope’ or I Wanna Go Where the People Go.’

‘The Fall Divine’ is a slow song with a hypnotic groove that takes its time getting to its first verse. The guitar weaves in and out during the middle. This has been one of my favorite songs by them over the years with the guitar solo at the end providing some angst and struggle to break out of the slower tempo in the song. They close out the first half of the album with the rocking ‘Goin Steady’ which recalls 70’s glam with some additional power surging through the instruments with the breakdown at the end of the song bringing Mott the Hoople to mind.

The second half of the album kicks off with ‘Dahlia’ which has a catchy riff and a chorus that features a lot of harmonies. I love the use of piano through the song as well. Side effects transition us from the end of ‘Dahlia’ into ‘Maximum Teenage Overdrive’ which again reminds me of the direction Marilyn Manson would later pursue, maybe Tim Skold was a fan of this album . The beat is big through the verses, and the almost robotic backing vocals through the chorus provide an extra hook without making the song poppy. The band again introduces a breakdown at the end of the song that makes a huge impact. This song would have fit seamlessly on the Velvet Goldmine soundtrack.

‘Girl of the Downward Spiral’ starts with a simmer and then blows out the speaker. This was the single from the album and definitely makes sense in that regard. It is loud and bombastic with a great hook in the chorus. Earth Eighteen really had their own sound which was probably a blessing and a curse. This did not sound like other songs on the radio, which probably worked against it. If it had received airplay, I have no doubt the band would have picked up a cross section of rock fans that would have purchased the album. The acoustic soft rocking ‘Long Gone’ immediately changes direction and showcases the variety across their sound. The contrast between it and the previous song work to the album’s advantage. ‘Blood Revival 99’ closes the album with a hypnotic riff that feels like it is channeled from outer space. The use of the keyboards in the chorus only adds to the out of this world feed. The band then going off on an extended jam which is the only way this album should have ended. As the guitar wails, it feels like there are spaceships flying all around you on some galactic highway. After the fadeout, we get a little acoustic passage that honestly feels like the alarm clock just went off and woke you up from an intense dream.

Can a record still have a life after 30 years if it was ignored by the public when it was released? It definitely can for those of us that purchased it back in the day. As I mentioned at the beginning, this album has been a lifelong grower over the past three decades with it gaining in stature for me with every passing year. There are quite a few copies of the CD currently available on Discogs for those that want to experience an excellent glam CD from the middle of the 90’s when ‘Lump’ was playing on the radio. There were tremendous albums released in the 90’s and now you have an opportunity to track down one of them that slipped away unnoticed at the time.

If anyone knows what happened to the members of the band and can connect me to them, please let us know as I would love to do a Q and A with them.

Author: Gerald Stansbury

The Libertines warm up show

The Libertines warm up show

Announce Special Gunnersbury Park warm up show at tiny club in West London on Thursday 31st July

‘THE LIBERTINES FESTIVAL’ 

Gunnersbury Park, London 

August 9th 2025

Final tickets available:

www.ticketmaster.co.uk

As a warm up for the final show, of their highly successful world tour, at Gunnersbury Park on 9th August, The Libertines have announced a very special one off live club show, at an undisclosed venue in West London, on Thursday 31st July. The band will take to the stage at 7.30pm and are straight on the bus afterwards for more sold out shows in France and Belgium.

Entrance to the show is on a first come first served basis with 250 tickets available priced at £22.50 (including booking fee)sign up for tickets here: https://festivalrepublic.jotform.com/252054684059966

The final final show of the world tour and indeed for the foreseeable future is at Gunnersbury Park with support coming from Supergrass, Soft Play, Hak Baker, The Lambrini Girls and Real Farmer.

This show brings to a close The Libertines world tour in support of their No.1 album All Quiet On The Eastern Esplanade that has seen them sell out shows across the world  from Australia – Mexico City, Seoul – France, Germany and now Shepherds Bush.

Peter Doherty says: “We are going to take a break, live life a little for a bit and enjoy some time in the wilderness communing with nature, and see where the muse takes us. Hopefully you can make it to the final night of the tour at Gunnersbury Park. It’s gonna be historic. If not, we’ll see you down the road some time. Love Peter X”

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Sick Visor – ‘Chuck a Sickie’ (Self-Released)

Sick Visor – ‘Chuck a Sickie’ (Self-Released)

Hailing from Melbourne, Sick Visor are a duo who released their first EP a few years ago. They have released several singles since then with this EP collecting some of those singles and a couple of new songs as well. I think the first word that always pops into my head when I think of this band is fun. Their pop-punk infused songs (‘skate music for nerds’ to quote them) make me smile and make me singalong (thankfully just in my head so no one is harmed by my singing). I wish they were releasing a full-length album but hopefully that will be coming at some point in the future.

Kicking things off with a ‘Piece of Cake,’ Alex Moses gets the song started with just his voice and his guitar. Moses’ voice fits the poppiness of the songs perfectly as it has a kindness to it that feels at odds with some of the expletives he lets fly. The drumming and backing vocals by Katie Lovelock stand out across these songs too. When they combine their vocals together, the harmonies are exquisite, and it feels the universe is in-sync which is remarkable given the state of the world. The beat picks up a bit on ‘Boring as Batsomething’ which tells us that if we are bored, we might want to look at ourselves to create some excitement. Lovelock’s vocals here as a call and response to Moses’ lead vocals showcase how well she sings on her own too. I have never been able to listen to this song without my head bopping, my foot tapping, or my fist in the air.  The musical smiles continue with ‘Better’ where the music and vocals are simply infectious. I cannot help but singalong to the song every time it plays, and it is my second favorite song on here.

Starting off the second half of the EP is a short 44 second look at ‘Nuggets.’ I am not going to give away the extremely profound thought the band expresses here, but I can assure you that I agree with them. The song is catchy and fun. ‘I NEED TO GO OUTSIDE’ was the first song I heard by Sick Visor back at the end of 2024 and is my favorite song on the EP. The song should be a summer hit on the radio, but the expletive laced chorus means it will not achieve that goal. The chorus is huge and reminds us to get off our butts and experience the world when we have been knocked down by life. My favorite part of the song is near the end when Lovelock’s voice gets showcased by itself. That moment works perfectly. If you remember in the movie Almost Famous when they are discussing the one random ‘woo’ in the Marvin Gaye song. Like that moment, it is simply magical and carries so much more weight that it only happens once in the song. Closing out the EP is ‘I don’t wanna go to the party if you go to the party.’ The tempo surges a bit here with the song bringing Blink 182 to mind.

Sick Visor struck musical gold in the chemistry between Moses and Lovelock who coincidentally also have romantic chemistry as husband and wife. These six songs serve as a musical infusion of joy and enthusiasm through the crap that life throws at us. They are a reminder to keep fighting and pushing forward to get to the sweet spots where we want to be. Have a listen and then purchase some of this sunshine for your collection.

‘Chuck a Sickie’ is available now.

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Author: Gerald Stansbury

Wolfsbane – ‘Live Faster’ (Self Release)

Wolfsbane – ‘Live Faster’ (Self Release)

Somewhere back in the mists of time, Tamworth terrors Wolfsbane were one of the bright young hopes of a burgeoning UK rock scene. Along with the likes of The Dogs D’amour, The Quireboys and The Almighty, they graced the covers of the UK music magazines and were destined for big things. With a fierce live reputation and a dedicated fanbase affectionately known as ‘The Howling Mad Shitheads’, it seemed Blaze Bayley and the boys could not fail; then they signed to Def American Records, the label run by the legendary Rick Rubin, mastermind behind The Beastie Boys and others. A producer who had turned around the careers of Slayer, Red Hot Chilli Peppers and The Cult to name but a few. But somehow, he managed to zap all the live energy from Wolfsbane’s debut album ‘Live Fast, Die Fast’.

While they redeemed themselves on the following Brendan O’Brien produced mini album ‘All Hells Breaking Loose…’, sadly the stars never aligned for the band, Blaze jumped ship for Iron Maiden and the rest as they say, is history.

Now, some 40-odd years later, Wolfsbane plan to right the wrongs and have completely re-recorded that debut album in full.

I always thought of Wolfsbane as the British Van Halen. My first introduction was their Friday Rock Show session, Blaze sounded like Roth and Jase Edwards had the guitar histrionics to match Eddie Van Halen, the live feel of those songs matched the energy of the Californian legends. Maybe if Dave & Eddie had started their days on a council estate a few miles from Birmingham, they too would’ve sounded just like Wolfsbane. In 2025 this re-imagined ‘Live Fast, Die Fast’ sounds raw, tight and exciting. With the same running order and the song structures staying faithful to the original recording, what stands out most is the production.

With that familiar hammer-on intro, ‘Manhunt’ fills the speakers like an old, lost friend. Is it faster? It sounds fast! The main change here is the drum sound, while the original was snare-heavy and polished, the drums overpowering and in your face, here the instruments all gel as they should. Next up, ‘Shakin’ sounds great, real ‘live in the studio’ vibes here. It’s the song that remains the most Van Halen-like to me. A classic tune given the sound it so rightly deserves.

With face-melting guitars and a killer hook, ‘Killing Machine’ was a live favourite back in the day, and it still holds up. ‘Fell Out Of Heaven’, again, has Roth vibes in the vocal department and another killer chorus, yet in my mind I still prefer the Friday Rock Show version.

Elsewhere, the live energy is captured magnificently by Jase Edwards’ stellar production, even the big MTV single ‘I Like It Hot’, with its sheen removed, is still as commercially pop-tastic as I remember. My only gripe would be the token ballad ‘Tears Of A Fool’, which would have been all well and good if they were The Dogs D’amour, but it didn’t fit the feel of the album in 1989, and it still doesn’t in 2025. Maybe they shoulda banged on ‘Paint The Town Red, instead.

While this re-recorded version of ‘Live Fast, Die Fast’ is unfinished business for the band, and is steeped in nostalgia, the songs stand the test of time and remind those who were there what a great band Wolfsbane were back in the late 80’s.

‘Live Fast, Die Fast’ remains a testament to the fact that not all the most exciting bands came from the Sunset Strip back in the late 80’s, some came from the Midlands too. Do yourself a favour and get reacquainted with a lost gem.

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Author: Ben Hughes